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“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
10 Mar 2011
Cecilia Bartoli in Halévy’s Clari
A key measure of operatic star power is the ability to get an obscure work staged — think Joan Sutherland and her run in Massenet’s Esclarmonde, an outlandish wallow in orchestral excess ladled over a libretto of unfathomable goofiness.
No matter how dubious the chosen work may be, it is sure to have one undeniable virtue for the star — a leading role that encompasses all the singer’s vocal strengths.
Although her performances in staged operas have not been numerous in recent years, there’s no bigger star in classical singing than Cecilia Bartoli. The mezzo-soprano has shown, in a series of best-selling CDs, a comprehensive interest in baroque and early Classical composers, both well-known and lesser-known. In 2008 she brought to Opernhaus Zürich a long-forgotten work of Jacques Fromental Halévy, who is best known today for La Juive, a grand opera with a showcase role for a lead tenor (Neil Shicoff has been that work’s foremost proponent in recent years). Halévy’s Clari, to a libretto by Pietro Giannone, is a very different work — more Mozartean in musical language, and with a simple story that walks an uncomfortable line between comic underpinnings and deeper emotional currents.
The title character, before the stage action begins, has been induced to leave her farm family by an attractive Duke. She expects marriage, but he ensconces her at his home and presents her as his “cousin.” As Clari begins to doubt that she will ever be the Duke’s wife, she slips toward an emotional breakdown. Finally she flees to her home, where she fears her family will no longer accept her. Indeed, her father feels she has shamed the family, but when the Duke follows her to her home, realizing at last what she means to him, the expected happy ending makes its appearance.
Bartoli’s appealing stage manner does not extend to her being a convincing actress, and in the context of the cartoonish production of Moshe Lisher and Patrice Caurier, this staging doesn’t treat Clari’s emotional predicament with sensitivity or insight. Bright colors and broad gestures dominate, as if the creators fear that the audience will grow bored if asked to concentrate on the actual libretto and score. Indeed, Halévy’s music is Mozart-lite, with anodyne recitatives and superficially appealing but quickly forgettable melodies. Apparently, Bartoli herself did not have full confidence in the score, since at key moments she performs a Rossini aria from Otello and a cavatina from an entirely different obscure work of Halévy (La tempesta). Nonetheless, the show is a pleasant enough distraction. An act two chorus sung to an ailing Clari is a beautiful little piece, and an aria sung by a minor character (Bettina, performed by Eva Liebau) struck your reviewer as better than anything Clari gets to sing. The tenor lead, Il Duca, has a nice number or two. John Osborn takes a while to warm up, sounding a bit thin in his first number, with suspect intonation. Even warmed up his voice can’t be called beautiful, but he has real vocal agility and is a scrupulous musician. Unfortunately, as costumed by Agostino Cavalica, he looks less like a handsome libertine of a Duke than an overgrown pubescent boy. The shorts are truly unfortunate.
Adam Fischer and the La Scintilla band enjoy the unchallenging score, keeping things as interesting as possible with sharp rhythms and tight pacing.
Decca offers handsome packaging, although one can’t help but suspect the show is spread over two discs just to offer the set at a higher price point. The expansive booklet features a cartoon-panel version of the synopsis (parts of which also appear in the production as a clever bit of exposition), along with an essay on the opera, a note on the production, and a “Conversation with Cecilia Bartoli,” which is about as conversational as any document emanating from a public relation’s office.
Whether or not this production actually serves as the best representation of the opera Clari, it is very likely to be the only one available, indefinitely (if not infinitely). Bartoli’s vocal charms are on full display, and the show passes the time pleasantly enough.