Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

OPERA TODAY ARCHIVES »

Performances

Libretto of Le Nozze di Figaro, Prague 1786 [Image courtesy of Wikipedia]
07 Jul 2011

The Marriage of Figaro, Opera Holland Park

Even before a note was sounded at Opera Holland Park on Saturday evening, the still summer evening was ruffled by a breeze of unease.

W. A. Mozart: The Marriage of Figaro

Figaro: Matthew Hargreaves; Susanna: Jane Harrington; Count Almaviva: George von Bergen; Countess Almaviva: Elizabeth Llewellyn; Cherubino: Hannah Pedley; Dr Bartolo: Lynton Black; Marcellina: Sarah Pring; Don Basilio/Don Curzio: Andrew Glover; Antonio: Henry Grant Kerswell; Barbarina: Jaimee Marshall. Conductor: Matthew Willis. Director: Liam Steel. Designer: Emma Wee. Lighting Designer: Colin Grenfell. Opera Holland Park, Saturday 2nd July 2011.

Above: Libretto of Le Nozze di Figaro, Prague 1786 [Image courtesy of Wikipedia]

 

Producer James Clutton took to the stage to announce that the original Susanna, Claire Meghnagi, had “left the production” and been replaced at short notice by Jane Harrington. In addition, Matthew Hargreaves, our elegantly attired factotum for the evening was not feeling on top form, but would soldier on regardless.

To paraphrase Lady Bracknell, “to lose one principal may be regarded as a misfortune; to lose two looks like carelessness”. In the event, if Hargreaves was suffering it did not affect him too greatly; there were a few problems with projection initially — he was rather tentative in the opening duets — but he quickly warmed up and by ‘Se Vuol Ballare’ was well into his stride (although conductor Matthew Willis nearly knocked him off-balance with some unexpected and inexplicable changes of tempo). If Hargreaves fudged a few of his notes at the top, it did not detract from a committed and lively performance. His camp, mincing, Jeeves-like antics were energetic and eye-catching, and he demonstrated a good sense of timing in what is an intricately choreographed production.

As for Harrington, she slipped effortlessly into the comic capers and complicated stage manoeuvres; she clearly knows this opera well, but if she really had had only a few days of rehearsal, she must have a remarkable stage memory. Her Susanna exuded brio, confidence and charm. Her Act 3 duet with the Countess ‘Sull’ aria’ was exquisitely sweet and clear. Indeed, the vocal expressivity of Elizabeth Llewellyn, as the disillusioned, disheartened Countess, was one of the highlights of the evening. Both ‘Porgi amor’ and ‘Dove sono’ powerfully conveyed her distress and established her aristocratic dignity. However, Llewellyn and her philandering Count, George von Bergen, (equally strong vocally, his dark registers booming out to suggest menace) are not the most convincing of actors and in a production that often found them at the front of the stage, statically facing the audience, they didn’t always make dramatic impact.

And, herein lies much of the problem with this production. For Liam Steel frequently neglects to direct the principals while involving the chorus in ceaseless hectic, and often distracting, activity. During the overture, the hustle and bustle of the upstairs/downstairs world was captured by a seething mass of servile retainers who rushed about the stage, plumping cushions, airing linen, carrying silverware (a debt, conscious or otherwise, to David McVicar’s ROH production?), and charging helter-skelter in and out of the numerous doors which extended in sharp perspective from the arched walls of Holland Park House (Emma Wee’s graceful set, cleverly calling the walls of the house into action). Such frenetic commotion on stage was not matched in the pit where, here and throughout the performance, rhythmic drive and forward momentum — so essential to the comic impetus — were sadly lacking. In general, Willis adopted an overly lyrical approach, eschewing the brisk crispness of the Classical idiom; occasional exaggerated dynamic contrasts and clumsy accelerations of pace could not inject the necessary joie de vivre.

Figaro-OHP.gifScene from The Marriage of Figaro [Photo by Fritz Curzon]

There were some deft theatrical touches — Cherubino’s leap through the chamber window into the geranium beds, for example, was neatly and wryly effected — but on the whole there was too much clutter and fussy choreography, which frequently hindered the singers’ attempts to establish character and dramatic situation through the music itself. Thus, Lynton Black struggled to convince us of Dr Bartolo’s vicious anger in the vengeful ‘La vendetta’, as the chorus farcically waved red books to and fro in the background; in case we were uncertain that Antonio (Henry Grant Kersell) is a gardener, his arrival in search of the destroyer of his precious flowerbeds was accompanied by a chorus of dancing geranium pots. When they weren’t parading picture frames or pirouetting around the furniture, the chorus were placing ‘legless’ furniture beneath the derrieres of their distressed masters and mistresses. The music was simply never allowed to speak for itself. Thus, even Cherubino’s gauche outpouring of adolescent passion, ‘Voi che sapete’, sung with bright clarity by a perky Hannah Pedley, was ‘illustrated’ by some mimed shenanigans by the four principals, subsequently imitated in a choreographed coda by a lower class quartet.

Although this chaotic stage business might have resembled a bedroom farce, the fact is that it simply wasn’t funny. The unpoetic banalities of the ‘re-written libretto’ (I hesitate to use the word ‘translation’) did not help; the surtitles not only lacked the grace of Da Ponte’s witty couplets, but frequently had only a tenuous relationship to the events and dialogue that the original libretto describes. Thus, despite some fine singing, hyperactivity on stage contrasted with lethargy in the pit, and as darkness fell, what is a long opera began to feel like a languorous one; one of the finest musical comedies reduced to dramatic inertia.

Claire Seymour

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):