Recently in Performances
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
12 Jul 2011
Grant Park Music Festival, Chicago Commemorates Gustav Mahler
To commemorate the hundredth anniversary of Gustav Mahler’s death Carlos
Kalmar and the Grant Park Orchestra gave in early July two performances of Mahler’s Das Lied von der Erde featuring the vocal soloists Alexandra Petersamer and Christian Elsner.
The work by Mahler was preceded,
fittingly, by the Musique funèbre of Witold Lutoslawski, which had
originally been composed for the anniversary of Bartok’s death and first
performed in 1958. In its performance of the latter work written for string
orchestra the Grant Park Orchestra under Kalmar gave a seamless account of the
score. The somber introduction for cellos is followed by the gradual
introduction of other string groups. A foremost impression left by these
performances is the sense of symmetry in Lutoslawski’s “memorial tribute”
as the cello ensemble returns to close the piece in an audible mirror of its
opening. The four parts of the work entitled Introduction, Metamorphoses,
Apogee, Epilogue draw on varying sound palettes for individual and groups of
sting players. After the cellos are joined by the remaining strings, tempos
increase and allow for declarative statements performed forte. This
technique used in the two middle segments of the piece is varied by sections
played piano, where the basses used gentle bowing to touching effect.
In much the same way, fragments of melodies were played by individual groups,
the full melodies then growing into a perceptible unit as tempos accelerated
forcefully. A lush, neo-Romantic transition formed the bridge to the
conclusion, or Epilogue, as Kalmar led his players toward a dignified statement
of tribute with the individual strings dissolving into the inexorable return of
The performance of Mahler’s Das Lied von der Erde followed this
memorial piece without intermission. In the first of the six vocal parts,
“Das Trinklied vom Jammer der Erde” (“Drinking Song of Earth’s
Misery”), Mr. Elsner sang with lyrical and dramatic force from the start, as
he gave appropriate intonation to the word “klingen” (“resound”). In
the delineation of the “Lied vom Kummer” (“song of care”) Elsner’s
emotional line was matched by the distinctive solo for oboe. Decoration was
taken here as marked with the tenor’s melisma sung on “Fülle”
(“abundance”), so that the word as performed reflected its meaning.
Starting at this point the English horn solo in this performance lent a
complementary sense of melancholy to both the voice and recurrent notes of the
oboe. The concept of eternity, which recurs memorably in the final part of
Das Lied, is here broached, as the tenor contrasts duration and
mortality in “Firmament” and “Der Mensch” (“the heavens,” “You, o
mortal”). Here Elsner’s pitch was less distinctive, as the attack on
“Mondschein” (“moonlight”) and “Gräbern” (“graves”) was sung
with greater force than suitable.
The second song, “Der einsame im Herbst” (“The Solitary one in
Autumn”), introduced the performance of Alexandra Petersamer. From the start,
the security of the singer’s range assured poignant delivery of lines such as
“Vom Reif bezogen stehen alle Gräser” (“The blades of grass stand
covered with frost”). Here Petersamer’s voice rose from stirring low notes
to a bright top with focus on “Gräser” and, with parallel approach at the
close of the strophe, on “ausgestreut” (“scattered about”). When
Petersamer began the penultimate strophe in this brief segment, she sang the
line “Mein Herz ist müde” (“My heart is weary”) with the pitch toward
flat as an illustration of this emotional state. In “Ich hab’ Erquickung
not!” (“I need refreshment!”) she engaged in what approached a dialogue
with the low strings. As a final statement of yearning “Sonne der Liebe”
(“Sun of love”) was delivered by Petersamer with full and convincingly
In the two vocal parts at the center of Das Lied both singers and
orchestra responded to the challenges of tempo in their accomplished
performances. In “Von der Jugend” (“On Youth”) Elsner showed skillful
modulation as he wrapped the vocal line around accelerated playing. Just as
Kalmar’s masterful direction eased the orchestra’s pace at “Wunderlich im
Spiegelbilde” (“Wonderfully in the reflection”), the singer’s voice
showed a matching deceleration, only to conclude this song by reversing the
technique. In her medial song, “Von der Schönheit” (“On Beauty”),
Petersamer was equally impressive as her voice imitated the “caressing
gestures” of “Schmeichelkosen” as well as the sounds of youths riding
their steeds through branches along the river’s bank. In her approach to the
last strophe of this segment she used exquisite lyrical phrasing and
piano shading to communicate the yearning of the fairest maiden
looking after the youth as he galloped away. With tasteful decoration placed on
“Sehnsucht” (“longing”) and “ihres Herzens” (“of her heart”) a
secret melancholy brought the segment to its moving conclusion.
In his last selection, “Der Trunkene im Frühling” (“The drunkard in
Spring”), Elsner contrasted the emotional opposites of toil and torment with
the happy “cheerful day” (“lieben Tag”). After sorting through issues
of volume in the initial strophe Elsner came into his own at the line “Mir
ist als wie im Traum” (“It seems to me like a dream”). At the words
“schwarzen Firmament (“dark heavens”) and “betrunken sein” (“remain
drunk”) Elsner released powerful forte notes directly on pitch to
emphasize his persona’s resolve.
As the final and longest of the six parts of Das Lied Petersamer sang “Der
Abschied” (“Farewell”) with touching clarity of tone. After the
orchestral opening during which oboe, English horn and flute hint at departure,
Petersamer’s singing merged with the instrumental soloists to echo and to
enhance their mood. Her pure, high notes on “nieder” (“downward”) and
“Schatten” (“shadows”) emphasized the words’ true meanings by
contrast of vocal line. The ghostly pitches applied to “Hinter den dunkeln
Fichten!” (“Behind the dark pines!”) evoked an evening’s solitude in
nature coupled with a desire for companionship. While delineating the
atmosphere in the forest her lowest notes were fully audible as the orchestral
texture mimicked the sounds of birds. At this point Petersamer’s
diminuendo on “hocken still” (“crouch silently”) effectively
capped the emotive setting in nature. As her declarations on beauty echoed
earlier sentiments, an orchestral interlude extended the atmosphere with
notable contributions from the woodwinds and low strings. Petersamer’s
singing concluded the piece as the “Trunk des Abschieds” (“Cup of
Farewell”) began the future thematic wandering of the departing friend. The
singer’s elaborate, meaningful decoration executed on “einsam Herz”
(“solitary heart”) illustrated along with the concluding intonations on the
repeated “ewig” (“eternally”) that this was a performance of Das
Lied von der Erde in which text and music are ideally joined, where poetry
and song receive their due when performed with such significance.