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.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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?