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.
28 Mar 2011
Le Comte Ory, Metropolitan Opera
Rossini’s penultimate stage work, Le Comte Ory, belongs to
the tradition of sexy scoundrel operas, along with such works as Don
Giovanni, Zampa, Fra Diavolo, Barbe-Bleu,
Les Brigands and Threepenny Opera.
You could make a case for
adding supernatural scamps like Der Vampyr and Tannhäuser to
the list. The hero may be a rogue—in fact, rogue is his job
description—and may even be a cutthroat or worse, but he’s a
lovable fellow for all that. And he almost never gets to home plate with the
ladies whose hearts he flutters; the censors wouldn’t have stood for it.
Thus the joke of Gilbert and Sullivan’s spoof in The Pirates of
Penzance: Their chorus-full of reckless rogues lust “to be married
with impunity” to the bevy of helpless females they are about to abduct.
(Is it coincidence that most of the sexy scoundrel operas are French? No.)
Michele Pertusi as The Tutor
The censors wouldn’t have stood for it then, but there are no censors
now, and opera directors are all for full disclosure. This mars Bartlett
Sher’s colorful if bare-bones staging of Le Comte Ory for the
Met. Consider the final trio: Ory, our scoundrel, has disguised himself as a
nun in order to enter Countess Adèle’s bed in her darkened chamber.
Unbeknownst to him (but obvious enough to us), Adèle’s young suitor,
Isolier, is also present, and in fact the Count is embracing Isolier as Isolier
embraces Adèle. If this seems a bit racy for 1828, even in Paris, ne
vous-inquiètez pas: Isolier is played by a mezzo soprano. Audiences
didn’t mind watching a man fiddle with a boy so long as the boy was
obviously a woman. (The first time I saw this opera, Lucky Pierre—sorry,
Isolier—was played by a countertenor; he seemed to be enjoying the
But in Sher’s production, all three persons scramble around each other
among the bedclothes as if this were just an ordinary three-way with no story
to tell, and it is impossible for the Count not to be aware that he is
in bed with two other people. Adèle, too, should not be aware of what is going
on; here she’s a merry participant. It may seem a small point, and
everybody around me found the slapstick hilarious, but the premises of farce
must be taken seriously for the mad machine to work properly. Either Joyce
DiDonato is a man or she isn’t; if she isn’t, why does Adèle hope
to marry her? If she is, why does the skirt-chasing Count enjoy being in bed
with him? It’s as if Lucy schemed to divorce Desi and demanded custody of
his band: It violates the clear farcical contract for which we have been so
carefully set up.
Stéphane Degout as Raimbaud
Sher, as in his previous Met shows, Barbiere and Hoffmann,
is always willing to dump the plot to insert a dumb joke; this was also true in
his disastrous staging of Women on the Verge of a Nervous Breakdown.
He only seems capable of theatrical discipline if the piece is, like South
Pacific, sacrosanct, guarded by those who can keep him in line. He has no
theatrical clarity of his own. Is this sort of anything-for-a-laugh mayhem what
Peter Gelb means when he refers to a “new realism” in the opera
The singers have been encouraged not to play this charming piece straight. I
would find the evening pleasanter (and probably funnier) if Diana Damrau, a
fine singer as well as a fine comic actress, sang the dizzy Countess’s
fruity tunes with a bit more attention to proper line and with fewer wildly
mugged high notes, and if Juan Diego Flórez’s nasal tenor, never the most
sensuous of instruments, were not quite so dry. He is choosing roles lately
that do not exhibit his extraordinary virtuosity, and his is not an instrument
to make it in bel canto otherwise. There are many far prettier tenor
Diana Damrau as Countess Adle, Joyce DiDonato as Isolier, and Juan Diego Flórez as Count Ory
What, I wonder, would Rothenberger and Gedda have made of the bedroom trio?
With, say, Teresa Berganza as Isolier? I can’t help thinking they’d
have each contrived to keep one foot on the floor, in old-time Hollywood
fashion, but they would still have been funnier than Sher’s
staging, and they would have sounded like a glimpse of heaven.
Joyce DiDonato, as Isolier, is a lovely performer who does not let her
farce-making get in the way of torrents of beautiful Rossini, as heartfelt as
they are pure. She is the reason to visit Le Comte Ory and the reason
to linger to the very end. Susanne Resmark revealed a most attractive alto
voice with more to display than was evident here in the Margaret Dumont-like
housekeeper role. Michele Pertusi was all that could be desired as the Tutor
and Stéphane Degout filled our grateful ears with dark baritone during his
drinking song. Maurizio Benini kept the orchestral sound low so as not to
interfere with singers’ audibility, though as Sher (as usual) pushed them
all to the edge of the stage apron, this was probably unnecessary. In the old
days, and not so very old either, singers could fill the Met from mid-stage and
revel in the filling.