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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.