Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

OPERA TODAY ARCHIVES »

Performances

Heather Green as Bitia and Nathan Guinsinger as Mosheh [Photo by Hunter Canning courtesy of seven17 public relations]
03 Feb 2011

Mosheh, a VideOpera

Yoav Gal, an Israeli-born composer-in-residence at the HERE arts complex in Manhattan’s South Village, calls Mosheh a “VideOpera,” rightly giving as much place to what is seen (electronic projections) as to what is heard (from four sopranos playing the women in the prophet’s life and an orchestra of nine musicians).

Mosheh — A VideOpera, composition and design by Yoav Gal

Miriam: Hai-Ting Chinn; Bitia: Heather Green; Yocheved: Judith Barnes; Zipporah: Beth Anne Hatton; Mosheh: Nathan Guinsinger; Voice of God: Wesley Chinn. At HERE, performance of January 29.

Above: Heather Green as Bita and Nathan Guinsinger as Mosheh [Photo by Hunter Canning courtesy of seven17 public relations]

 

Mosheh contains most of what we’ve come to expect from new operas in the twenty-first century: video and film, of course, and also gamelan-derived percussive scoring, surtitles to obviate the need for a coherent drama, and naked male bodies, in this case the non-singing title role. (Trivia: Name other title characters who do not sing in their own opera. There’s La Muette de Portici, of course.)

What Mosheh has that I seldom expect is respectable melody. Miriam’s serenade to her baby brother as she places him in the Nile is an especially lovely number; Zipporah’s harsh aria about inventing circumcision to save her new husband from the Angel of Death is less immediately attractive. Too, the quartet at the conclusion of the opera when the women narrate the twelve plagues that fall upon Egypt has an eerie harmony that calls Benjamin Britten to mind.

What Mosheh, the opera, did not have was a coherent, stageworthy way of telling its more or less familiar story. Without some Bible reading (or a viewing of The Ten Commandments) and surtitles, I don’t think an audience would find the action at all clear. It is rather a costumed series of individual scenes, all for voices of too striking a sameness. Gal writes well for the voice, without straining the instrument as the atonal opera composers were prone to do—because, unlike them, he has not renounced melody as an expressive tool—also, I suspect, he has studied voice writing and respects the instrument and its capabilities. His four well-chosen soloists had no trouble filling HERE’s admittedly small space with thrilling sound that never made us wince.

But because the vocalism accompanied so little action and no dialogue, the evening never became a dramatic event, that is, an opera. Were sets and costumes (wild costumes!) even necessary? Were the tremendously elaborate and often beautiful projections, which led us, for example, through rows upon rows of columns into Pharaoh’s throne room, or beside the muddy pools of the Nile required? Is Mosheh’s presence called for by the music, or would any naked man (a volunteer from the audience, say) do just as well? Or could we dispense with him too?

Soprano Hai-Ting Chinn, well known among fans of New York’s odder opera scenes (she was the Wooster Group’s splendid Didone Abbandonata), made the most striking impression here as Miriam, acting as well as singing her lovely music.

John Yohalem

GreenHattonBarnesChinn-Cred.gifHeather Green as Bitia, Beth Anne Hatton as Zipporah, Judith Barnes as Yocheved and Hai-Ting Chinn as Miriam [Photo by Hunter Canning courtesy of seven17 public relations]

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):