Recently in Performances
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
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.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
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 opera-novel Quicksand makes for a novel
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).
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.
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 . . .
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.
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.
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.
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’.
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.
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.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
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.
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.
‘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.
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.
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.
26 Jun 2011
Two Boys, ENO
You would have had to be deaf and blind — or perhaps just a very wise
monkey — not to have been aware that a young American composer called
Nico Muhly was about to open at the English National Opera in London last night
with a work called Two Boys.
Since late last year, it seems that the
personable and obviously multi-talented Muhly has been (pardon the allusion)
pushed down our throats from every media-angle, and by too many London hacks
anxious to maintain their street-cred in Twitter-land. This kind of media blitz
is obviously a two-edged sledgehammer: if the show bombs then everybody looks
somewhat foolish, if it achieves critical and/or box-office success (I suspect
the latter in this case) then we’ll probably get bombarded again all too
soon with the next wonder-kid of modern music. Ah well.
At the world premiere of Two Boys last night, (cleverly being
opened here and not at its co-pro alma mater of the Met) you would have been
forgiven for thinking that you had missed the date and wandered into London
Fashion Week. Everyone who had read all the supplements, all the tweets, all
the blogs and listened to the podcasts — or even just came on spec
because everyone else said they should — was there. It was achingly hip.
Never mind — we all want opera extending its audience so why not? It
probably swelled the coffers of the ENO champagne bar.
So how was it? Well, perhaps one should score it in TV Talent Show style and
take it from there:
Story: 6/10, Music: 6/10, Production: 6/10........you get the idea I expect.
Singers? Definitely 8/10, if only for commitment to the work, vocal
characterisation, and damn good acting within the limits of the production.
Craig Lucas has written a libretto that is based on a true news story of
some years ago about two boys, internet chat rooms, assumed identities and
attempted murder and this story — slight as it is in dramatic terms
— worked to a point. What was lacking was any depth of characterisation,
any motivations or emotional developments to give the piece structure. Maybe
that was part of the plan: certainly the waves of music that swirled and pulsed
and counterpointed the long articulated lines of speech/song didn’t
suggest much in the way of dramatic development or journey. Muhly’s work
is difficult to describe; his music is like high-class mood-music, or perhaps
those compositions carefully constructed and “written to picture”
for an expensive nature documentary. It doesn’t challenge the listener,
nor does it repel — but I doubt it delighted or surprised many either.
Susan Bickley and Nicky Spence
The singers were universally good: the core of the story lies with the
investigating police officer played by Susan Bickley (does she ever
disappoint?) who has demons of her own to confront as a stranger in the strange
land of her suspect’s virtual world of net friends. Her diction was
excellent and character well-drawn. That suspect, who we know as
“Brian”, is sung by young tenor Nicky Spence with a tremendous
empathy for this pathetic, unintelligent, bullied young man who’s flashes
of desperate anger at his uncomprehending parents just reinforce his weakness
and lack of self esteem. That excellent work was matched by the amazingly
confident performance of boy treble Joseph Beesley — one just hopes that
the calculated evil inherent in his character doesn’t leave too much of a
shadow. The many supporting roles were equally well presented and sung without
a single unhappy choice — and singers and orchestra (under Rumon Gamba)
seemed well-rehearsed and remarkably slick considering this was a first night
of an entirely new work.
Joseph Beesley and Nicky Spence
On the production side, a few good ideas were made much of but could have
been given more emphasis — the video backdrops of world-wide internet
“chatting” — words repeating, and reappearing, and often
mirroring the actual sung words. Some of the best dramatic moments came with
the chorus spread around and above the stage suggesting the vast numbers of
internet chatters communicating endlessly and pointlessly from their sad
individual bedrooms. The graphic video work was good — but again could
have been so much more; in fact the whole production just felt as if it were
treading far too carefully, too “nicely” and was afraid of
upsetting anyone. All a bit anodyne, in essence. Perhaps they will push the
boat out a bit more for its New York premiere? Somehow, I doubt it.
Six more performances through June and July: see www.eno.org