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.
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.
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.
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.
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