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.
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.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Israel Opera’s summer festival grew astonishingly in the year following its 2010 inaugural season.
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.
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.
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 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?