Recently in Performances
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
22 Feb 2011
The Bartered Bride, New York
In the mid-nineteenth century, every nationality that did not possess a
national state felt a need to prove itself, to square its shoulders and claim
nationhood with all the identifying marks of a nation: a language with a
literature, a tricolor flag, a national anthem extolling the people’s
stalwart character and the country’s landscape (inevitably the loveliest
in the world), a national theater and a national opera to be performed there.
The national opera was often based on national legends and national folk tunes;
when possible, national folk dances made an appearance.
Bedřich Smetana resolved to create the Czech national opera at a time
when Czech nationhood was subsumed in that of the Austrian Empire, and he chose
a legend about a Czech dynast. Scenes from this opera adorn the walls of the
National Theater in Prague, which was constructed at that time, to this day.
The opera is called Libuše (the name of the prophetess who
founded both Prague and the Czech royal house); it is rarely performed in the
Czech lands and obscure outside them. Instead, to both the Czechs and the rest
of the world, the national opera is Smetana’s light, merry Prodaná
Nevěsta, to the English-speaking world (for it is seldom given in
Czech here) The Bartered Bride. In this guise it has long been in the
category of occasional revivals, the overture almost too familiar (orchestras
love it for the rhythmic workout it gives the strings: it’s a charming
showoff piece). The Met and Juilliard chose it for the first of what one hopes
will become a tradition of collaborations between the Met’s Lindemann
Young Artists and the Juilliard opera program in their nifty little opera
theater, the Peter J. Sharp. The omens look good.
One did wonder, though, at the performance, what Smetana’s charming
folk opera was doing in a Central European café in doom-laden 1938? Was some
ideological point intended? Or (one sneered) was it just that they
couldn’t afford costumes of the proper era? A program note by director
Stephen Wadsworth cleared things up: No, they couldn’t afford a full
stage of fancy peasant costumes. He gets applause from me for not trying to
make some political point of this, and for clear storytelling though, as usual
with Wadsworth, it’s a bit fussy. Something is always going on,
people are always dancing outside the window when the action should focus on
one character’s solo distress. All the performers were expected to insert
bits of folk-dance into their arias, just to ground us in Czech-ness, which
they did with varying skill—but being able to dance credibly while
they sing is part of the skill-set evidently being taught the Lindemann
Young Artists at the Met. But I still can’t believe parents in Central
Europe in 1938 would dare to arrange a marriage for their daughter without
consulting her any more than they would today.
Opera translations into English come in at least four varieties: Risible,
unendurable, irritating and inaudible. Inaudible—ENO’s Wagner, for
example—is my favorite. Sandy McClatchy’s new version of
Bartered Bride (an opera I have never heard sung in Czech) was mildly
irritating: lots of false rhymes and false accents (the heroine’s name,
at least, should fall with the proper emphasis), but many of those attending
seemed to enjoy it and it was so clearly sung that surtitles should not have
been necessary. The stuttering Vašek got laughs from those who find
disabilities hilarious. (In Smetana’s day, no doubt, that was a larger
Jennifer Johnson Cano as Ludmila, Layla Claire as Mařenka, Donovan Singletary as Krusina, and Jordan Bisch as Kecal
Among the singers, slim, red-haired Layla Claire made the biggest impression
as Mařenka, the bartered bride. She is a talented, affecting actress,
both flirting and sorrowing, and her voice has a Central European sort of
vibrato and a winning, plangent smoothness and rose on occasion to an opulent
high C. Too, she worked her irritations out in dance steps that seemed
unusually well integrated into her character. Paul Appleby, as her Jeník,
displayed the several colors of his attractive tenor well, though he was
unattractively costumed and obliged to use precious breath dancing with rage.
Alexander Lewis had the part of Vašek, Jeník’s stuttering
half-brother, and his well-supported light, high tenor made a nice contrast
between the suitors; he also dances winningly and acts ably: a comic
scene-stealer. I see Rossini and Donizetti leading roles in his future. Jordan
Bisch was also an audience favorite in the buffo role of the pompous marriage
broker, Kecal. His perfect diction and command of blowhard nuance (Kecal thinks
he’s smarter than anybody, even when he loses the barter of the title)
were as enduring as his rounded low notes. Noah Baetge’s star turn as the
Ringmaster of a convenient carnival invasion was not vocally impressive, but
that was all right since his part is written to be upstaged by ridiculous
circus acts—the bearded “lady” ballerina and the
contortionist were particular crowd-pleasers. The four annoying parents who
clutter the plot proved their worth when they joined distraught Mařenka
for the quintet that was the evening’s vocal peak. James Levine conducted
the Juilliard Opera Orchestra, and the thrilling, rushing string writing gave
no problems and great delight.