Recently in Performances
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
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.