Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
Adapting an extended literary work for the stage remains a challenge today
and was no less so in the baroque era. Ariosto’s enormously long poem
Orlando Furioso was extremely popular and inevitably his highly
coloured characters found their way onto the operatic stage.
Antonio Vivaldi: Orlando Furioso (concert performance)
first encounter with Orlando was in 1713 when he mounted Ristori’s
Orlando Furioso and his own Orlando Finto Pazzo in Venice;
the Ristori was a success, his opera less so. In 1727 Vivaldi returned to the
subject, this time setting the same libretto that Ristori had used. Not long
afterwards, in the 1730’s, Handel would use the same episodes to created
two of his greatest operas, Alcina and Orlando.
But whereas Handel created two operas, Vivaldi crammed both plots into a
single breathless romp. Handel’s operas are works of great depth and
sophistication, whereas Vivaldi’s aim seemed to be to entertain; the
drama runs at high speed, the arias are short and lively, the plot mixes magic
and humour with occasional shades of drama.
Having given us Handel’s Alcina in December, the
Barbican’s Great Performers season on Saturday 26th March brought us
Jean-Christophe Spinosi and his Ensemble Malthus in Vivaldi’s Orlando
Furioso. The performance originated at the Theatre des Champs Elysee, but
as is the way of these things illness forced some cast changes so that Daniela
Pini and Franziska Gottwald joined the cast at short notice. This meant that
Pini and Gottwald sang from the score whereas the remainder of the cast were
off the book.
By combining Alcina and Orlando, Vivaldi ended up with a large number of
characters, 7 in all, even though Alcina’s sister is mentioned but never
appears and the character of Dorinda (present in Handel’s
Orlando) is entirely absent. Vivaldi asks a lot of his singers, his
arias though generally short in length are very much in the style of his
instrumental concerti. Each singer was presented with an opening aria which
used a series of variations on the theme of bravura up-tempo
virtuosity; each toe-tapping in its way, with brilliant string accompaniment,
but fatally lacking in extremes of variety or emotion. It was only when we were
two thirds of the way through act 1 that the tempo changed and Philippe
Jaroussky’s Ruggiero entered with an aria of haunting lyrical beauty.
Act 1 involved a great deal of introduction and explanation. It was in Act 2
that the real drama started, when Victoria Cangemi’s beautifully lyrical,
if scheming, Angelica united with Daniela Pini’s nicely hesitant Medoro.
Having been pursued by Marie-Nicole Lemieux’s Orlando, Angelica has led
Orlando on and tricked him. Needless to say Orlando goes mad.
Vivaldi’s way the drama here was less sure than Handel’s. When
Angelica pretended to respond to Orlando’s attentions Vivaldi gave her an
aria of great lyrical beauty, finely sung by Victoria Cangemi; but entirely
lacking in an iota of irony or a feeling that Angelica doesn’t actually
mean what she says. Marie-Nicole Lemieux was a one woman tour de force
as the hero Orlando, a series of bravura arias tremendously sung led
to Orlando’s mad scene which closed act 2.
Parallel to this Alcina, played with charm and amused detachment by
Franziska Gottwald, was busy captivating Jaroussky’s lyrical and slightly
wimp-ish Ruggiero, in turn pursued with amazonic charm by Kristina
Hammarstrom’s Bradamante (Ruggiero’s beloved, disguised as a
The libretto left the singers little time to create a three dimensional
character, they were only able to provide a sketch, usually accompanied by some
brilliant singing. Gottwald was notable for the way she suggested
Alcina’s charm and the loneliness behind, a woman able to get any man she
wanted but unable to form a real relationship. It was her aria towards the end
of act, movingly sung by Gottwald, where we first got some real depth of
In act 3, the two plots collided as Orlando in his madness destroyed the
temple holding the key to Alcina’s power; (a strange confusion of
operatic plots rather as if Lucia di Lammermoor suddenly appeared and killed
Macbeth). Spinosi encouraged Lemieux to move from bravura to over the
top in Orlando’s act 3 mad scenes, the style veering towards the 19th
century mad scene and even, fatally, G&S’s Mad Margaret. This was an
occasion when less might have been more.
Throughout proceedings Gottwald’s Alcina kept her poise and left us in
an aura of sadness rather than heart rending grief. Interestingly Angelica was
taken to task for the way she had toyed with Orlando’s affections and led
him on; a moralising not often found in baroque opera.
The rather protracted tidying up of loose ends in act 3 made me rather
admire the way Handel and his librettists often took the blue pencil to final
acts and speeded things up; that certainly needed doing here.
Christian Senn was the only lower voice, another knight charmed by Alcina;
he seemed at times the only voice of reason.
Though Vivaldi did use trumpets, horns and oboes in the orchestra, he did so
extremely sparingly so that the predominant orchestral colour was the strings.
Spinosi and his ensemble, quite a large group numbering 28 strings, did full
justice to Vivaldi’s brilliant orchestra accompaniments and
The opera was presented in what has become the standard for this style of
concert performance, with singers at the side of the stage, making generally
correct entrances and exits, all the women playing men were helpfully in
trousers. It certainly helped the drama that most of them were singing off the
book. But more importantly we had singing of such a high order that when
Vivaldi did use the music to create drama, we felt the benefit of it. In terms
of sheer vocal quality this was an evening hardly to be faulted and the
enthusiasm of both singers and ensemble seemed infectious.
Vivaldi’s Orlando Furioso is a long opera; we had over 3
hours of music with a single 20 minute interval in the middle of act 2. As the
evening started at 6.30 and finished at 10.10pm, I could not help thinking that
Vivaldi’s act structure could have been respected and the piece performed
with 2 intervals.
Vivaldi’s opera succeeds on its own terms, that is it entertains; in
fact it does so royally. We might wish for Handel’s greater depth, but
Vivaldi’s romp is fun especially when presented with such skill as it was