Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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 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.
Heather 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]