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I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
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.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
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.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
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.
18 May 2011
Orfeo ed Euridice, Metropolitan Opera
Gluck’s Orfeo is, intentionally, free of clutter. If you cut
out the scenes of balletic rejoicing just before the finale (and I can’t
think of any good reason not to do so), it’s less than ninety minutes of
Gluck’s intention was to isolate the story in three individual
voices, as no opera treating the story of Orpheus had done before. He could
even have made it a monodrama, and in some ways it is one: The roles of
Euridice and Amor are neither large nor intricate in the original Vienna
version of the score. (Euridice’s aria was a Parisian afterthought, as
was Orfeo’s coloratura showpiece in Act I, which may not even be
Gluck’s work. Neither is performed at the Met.)
David Daniels as Orfeo
The Metropolitan Opera production, directed by Mark Morris, seemed, when it
was first mounted, to be mostly about Isaac Mizrahi’s distracting
costumes for the chorus (some idiot tale about “all the famous people in
history witnessing the story”) and, secondarily, Morris’s jazzy
choreography, almost the only scene-setting we have for Tartaros or Elysium.
There was some story about a guy who goes to the Underworld to bring
back his dead wife, but that came a poor third. On its latest revival, those
miserable costumes are still around, but the chorus do not rush about on their
catwalk portraying furious Furies; they stay sedately in place, out of the
spotlight. The lighting is seldom upon them anyway, and one can ignore their
egregious intrusions and just listen to the way they sing. (Beautifully, with
very precise diction.) Morris’s choreography also seems less to clutter
matters and (I could be wrong here) there may have been cuts in the celebratory
dances. So at last the opera is about Orpheus and Eurydice, a pleasant, nearly
Lisette Oropesa as Amor
Antony Walker, an Australian, made an excellent, brisk debut in the pit, and
even at its most languid moments, the musical tension never let up all night:
an energetic performance informed, one suspects, by a background in the
current, danceable Early Music style of doing galant music. He plays
well with singers, too—this staging requires the chorus to keep time,
beating their hands on the rails of their bleachers, at certain moments.
David Daniels is now 45, and countertenors’ voices do not last as long
as, say, Wagnerian sopranos’ do. I hear less of the thrilling sensuality
in his alto that had me gaga in earlier years, less control at the edges of
individual notes, but he has always been a superb musician and a passionate
actor, and his Orfeo is a memorable, ardent portrait. When he stands alone,
bereft, at the center of the stage (vertically as well as horizontally) for the
climactic “Che faro senza Euridice,” a clear and simple statement
of anguish, he has earned our total attention and repays it richly. This is
what Gluck’s clarifying reform of opera was all about.
David Daniels as Orfeo and Kate Royal as Euridice
Lisette Oropesa made a pleasing god of love, the voice pure and clear,
filling the hall, the gestures a minimum of cute excess. Kate Royal made her
Met debut as Euridice, with a voice of distinct color and beauty and an
attractive stage presence, but she did not make terribly much of this pallid
character’s awkward situation, as Danielle de Niese, in striking
contrast, did, and for some reason she had lost her vocal footing for the final
triumphal duet and was unable to regain it.