Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Bartoli a dream Cenerentola in Amsterdam

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.

Winterreise : a parallel journey

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.

Anna Bolena in Lisbon

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.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Performances

Anu Komsi [Photo by Carol Rosegg courtesy of New York City Opera]
04 Apr 2011

Monodramas, NYCO

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.

Monodramas

John Zorn: La Machine de l’être — Anu Komsi, soprano. Arnold Schoenberg: Erwartung — Kara Shay Thomson, soprano. Morton Feldman: Neither — Cyndia Sieden, soprano. New York City Opera orchestra conducted by George Manahn. Performance of March 31.

Above: Anu Komsi

All photos by Carol Rosegg courtesy of New York City Opera

 

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.

Monodramas0030.pngKara 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 piece.

Monodramas0053.pngCyndia 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.

Jean Andrews

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):