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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

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 Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

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).

Orpheus in the Underworld, Opera Danube

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.

Lady Macbeth of Mtsensk in Lyon

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 . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

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.

Tosca, Royal Opera

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.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

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.

Classical Opera: MOZART 250 — 1766: A Retrospective

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’.

Benjamin Appl — Schubert, Wigmore Hall London

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.

Ferrier Awards Winners’ Recital

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.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

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.

Tippett : A Child of Our Time, London

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.

Taverner and Tavener, Fretwork, London

‘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.

Fall of the House of Usher in San Francisco

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.

The Merry Widow at Lyric Opera of Chicago

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.

OPERA TODAY ARCHIVES »

Performances

Aida Israel Opera [Photo by Yossi Zwecker]
15 Jun 2011

Israel Opera cuts wide swath at festival

Israel Opera’s summer festival grew astonishingly in the year following its 2010 inaugural season.

Verdi: Aida

Ramfis: Paata Burchuladze; Radames: Pierre Giulliaci; Amneris: Ildiko Komlosi; Aida: Hui He; King of Egypt: Carlo Striuli; Messenger: Yosef Aridan; Amonasro: Roberto Frontali; High Priestess: Efrat Ashkenazi. Conductor: Daniel Oren; Director: Charles Roubaud; Set Designer: Emmanuelle Favre; Costume Designer: Denise Dufolt; Lighting: Avi Yona Bueno; Choreography: Jean-Charles Gil; Video Designer: Nicolas Topor. Israel Opera: Open-air Theater at Masada, June 5, 2011.

All photos by Yossi Zwecker courtesy of Israel Opera

 

Then it was Opera at Masada, where Verdi’s Nabucco was performed in a mammoth new open-air theater set between the mountain central to Jewish identify and the Dead Sea. A recital by Jesse Norman was included in the season.

This year it was the Masada Dead Sea and Jerusalem Opera Festival Six performances of Verdi’s Aida were set for at Masada, while Verdi’s rarely performed Jerusalem, a revision of his I Lombardi, was staged at Sultan’s Pool, once a reservoir in Jerusalem’s historic water system. This was also a season of collaborations that contributed greatly to plans by Israel Opera’s inventive general director Hanna Munitz to make this a destination festival on a level with long established programs in Europe.

Special this year was the Masada performance of Verdi’s Missa da Requiem by orchestra and soloists from Arena di Verona, the Italian festival that reaches back to 1913. In the performance the opened the season on June 3 Giuliano Carella conducted the Verona forces, plus the Israel Opera Chorus and Tel Aviv Philharmonic Choir. The Verona guests further offered an evening of opera’s greatest hits at Sultan’s Pool, attended by 5000 enthusiastic fans. Star of that show was internationally celebrated tenor Setfano Secco in such favorites as “Nessun dorma” and “E lucevan le stelle.” Carella made the evening a success despite a sound system unfair to the instrumentalists involved.

Aida_Israel_06.gif

Once the fireworks of the Triumphal March were out of the way, Aida, seen on June 5, seemed a work not terribly well suited to the vastness of Masada. In the essential duet that results in Aida’s confession of her love for Radames, Aida and Amneris seemed lost in the desert night and without the dramatic personal confrontation that sets the scene for the rest of the story.

Happily, things improved after intermission when China’s Hui He made her entrance on a camel. And it was He who earned high marks for her work in the title role. A former IO Tosca, He was a strong but gently female Aida whose love grew ever greater when challenged.

Of course, it’s hard to avoid the feeling that Verdi stacked the cards against Egyptian Princess Amneris, who has little chance of winning the sympathy of an audience. Amneris is primarily a public person, never intended to be passion’s plaything. In the role Hungarian-born mezzo Ildiko Komlosi was a regal presence, conscious of her role in the conflict between public and personal feelings. Yet it was clear that she had no choice in setting the events that would lead to Radames’ death in motion.

Aida_Israel_07.gif

Although in appearance hardly a dream Radames Pierre Giuliacci, a familiar figure at European festivals was equally heroic and sensuous as Radames. Veteran bass Paata Burchuladze brought dignity to High Priest Ramfis. Born is a Georgia then part of the Soviet Union, Burchuladze has been an Israel favorite since he sang the title role in the Boris Godunov that opened the opera house in Tel Aviv in 1995. (Thus Israelis overlook an increasingly wide vibrato that is irritating to non-fans.) Italy’s Roberto Frontali made his IO debut as a movingly human Egyptian King Amonasro.

The staging, directed by Charles Roubaud, was largely straightforward. Sets by Emmanuelle Favre were minimal — four sphinxes and a huge royal statue — and wisely made no effort to compete with impressive natural surroundings. Costume designer Denise Dufolt appeared to have found a bargain in white cotton, the dominant material in mob scenes, but unflattering to the full figure of Giulliaci.

Especially effective were projections onto Masada Mountain designed by Nicolas Topor. The production added a bit of local color by including residents of a local Bedouin village in lieu of a dance ensemble. Daniel Oren conducted the IO Orchestra Rishon LeZion.

The sound system failed for a moment late in the production, stressing that technology is never totally reliable. Nonetheless, this was all in all a successful, if not memorable Aida, but as entertainment no match for the exuberance of the 2010 Nabucco, which reached its high point when conductor Daniel Oren conducted the audience in a “community sing” repeat of the famous chorus “Va, pensiero.” Aida does not invite such audience participation.

Aida_Israel_08.gif

Aida was a co-production with Les Choragies d’Orange and will be staged at the Roman Theatre in Orange.

The current season concluded with a Masada concert by Italian tenor Andrea Bocelli on June 12. In a further expansion of the season, 30 chamber concerts were performed in Jerusalem at places of worship and historic sites in the city.

Bizet’s Carmen has been announced as the major opera of the festival’s 2012 season.

While European cultural capitals have their castles and cathedrals Israel offers the visitor over 2000 years of — often tormented — history. Even so, archeological activity continues at break-neck speed.

Israel is a small and easily manageable land. Tel Aviv and Jerusalem, its major cities, are an hour apart, and the drop from Jerusalem to the Dead Sea is approximately that distance. Where but in Israel can one float in the Dead Sea, have dinner and head for an opera at Masada all in one afternoon?

Wes Blomster

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):