Recently in Performances
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!
04 Apr 2011
New York City Opera’s evening of “Monodramas” (under that
general title) may not appeal to the opera-goer who prefers such typical fare as the company’s other offering this week, Donizetti’s L’Elisir d’amore, but I found it a devilish and delightful exploration of the depths of inner consciousness.
John Zorn’s La Machine de l’être (The Machine of Being)
began with an empty stage gradually filling with silent individuals dressed in
all-covering costumes resembling burqas. A man and a woman dressed modern
formal wear with stark white shirts and ties moved among the growing throng.
One of the burqa-d women darted away when approached, as if in fear, then
disappeared into the crowd, giving the proceedings something of the feel of a
video game. The actors in suits removed the burqas from two of the crowd to
reveal, first, a man dressed in a painfully brilliant red suit, and second, the
soprano dressed in a starkly white gown. It was unsettling to find a man under
a burqa, and he remained an uncomfortable presence on stage. A large cartoon
“speech balloon” rose out of the floor and into position just over
the head of the darting woman, adding to the video game impression. Film clips
of drawings adapted from those made by Antonin Artaud during his incarceration
in an asylum played across the balloon. These disturbing drawings complemented
the disjointed music as both became increasingly twisted and tortured. Finnish
soprano Anu Komsi, in her City Opera debut, did a fine job tossing her voice in
the air evoking a descent into madness in this free-form piece that lacked both
text and plot.
Kara Shay Thomson, soprano
During a riveting entr’acte, Jennifer Steinkamp’s
stunning video display of a stylized forest moving through the seasons played
across the cartoon balloon. The video began with a wild profusion of pink
cherry blossoms mixed with yellow flowers and moved on to greens of summer,
then orange leaves falling and blowing and leaving a gray tangle of bare
branches. I was almost disappointed when the second Monodrama began.
But the gorgeous orchestrations of Schoenberg’s Erwartung
soon enveloped the audience, pulling us into the depths of the lonely
protagonist’s consciousness. A stunning blizzard of brilliant red leaves
fell on the stage for over half of the 30-minute piece. The glittering,
tumbling red was mesmerizing against the midnight blue backdrop. A dead man lay
in the middle of the stage with a knife protruding from his chest while the
tortured ravings of the soprano, sung movingly by Kara Shay Thomson, were all
that was needed to explain the drama—but several dancers provided an
unneeded distraction throughout this beautiful and compelling operatic
Cyndia Sieden and ensemble
The final, longest, and most abstract Monodrama of the evening was
Neither, set by composer Morton Feldman to a text by Samuel Beckett.
The mystical and complex orchestral part was richly complemented by the
continually evolving splashes of intense colors and shapes created by the laser
and holographic effects (after work by the innovative laser artist Hiro
Yamagata). Mirrored one-foot cubes moved and revolved, sending flashes of color
and penetrating lights across the house. The singer and the several dancers
reacted to and interacted with the cubes, as the singer seemed to try to find
some connection with the other people. Cyndia Sieden’s voice sailed above
the orchestra, intoning the text in a near monotone that never left the highest
extremes of the soprano range.
The City Opera is certainly to be commended for stepping beyond the
traditional operatic comfort zone to present these three fascinating and
compelling performance pieces. It bodes well for the future of opera as a
living art that this company has brought such work to its audience.