Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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]