Recently in Performances
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.
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.
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.
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).
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