Recently in Performances
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
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.