Recently in Performances
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
26 Jul 2011
Verdi’s Requiem, BBC Proms
Not only did Verdi’s Requiem make its debut, rather remarkably, in the church of San Marco in Milan but the performance was as a liturgical one; Verdi’s intentions were quite firmly to provide a memorial mass for the Italian patriot, Manzoni.
But following this sacred premiere, the work went on
to have 3 further performances at La Scala and Verdi then took it on tour round
theatrical venues in Europe. So from the word go, the piece has been poised
between the sacred and the secular. It is this which gives the piece some of
its fascination and difficulty. Verdi’s writing mixes operatic elements with
some which are more sacred. For soloists he calls for 4 experienced Verdians,
but then he writes unaccompanied ensemble passages for them which are some way
from what he would have written in an opera.
At the BBC Proms on Sunday 24th July, Semyon Bychkov conducted BBC forces in
a very large scale performance. There were 3 choirs (BBC Symphony Chorus, BBC
National Chorus of Wales and the London Philharmonic Choir) with the BBC
Symphony Orchestra and a quartet of soloists all with strong Verdian
credentials (Marina Poplavskaya, Mariana Pentcheva, Joseph Calleja and Ferrucio
Furlanetto). The three choirs numbered around 450 singers and the orchestra was
similarly large scale, complete with a cimbasso on the brass bass line (instead
of the modern tuba or euphonium)
This issue of size is an interesting one, which can also be traced back to
Verdi’s original performances. Though the 1874 performances at La Scala used
a choir of 120, when Verdi took the work on tour round Europe his attitude
seems to have been flexible. So that whilst he performed the piece in Paris at
the Opéra-Comique (not a large theatre), in London it was performed at the
Royal Albert Hall in 1875 with huge forces. Clearly Verdi was not dogmatic
about the forces involved, so we should not be either. Instead we can sit back
and revel in the sheer sound that Bychkov conjured from his Proms forces.
The opening demonstrated what a wonderful sound can be created by a
disciplined large choir singing in hushed tones. Though big in scale, this
wasn’t a driven or a bombastic performance, Bychkov drew some beautifully
quiet and detailed singing from his choristers. The difficulty of combining 450
singers in such a space should not be underestimated and it is to the three
choirs’ credit that their choristers combined in such a powerful and
All was not quiet, of course. Come the ‘Dies Irae’ then all hell was let
loose in appropriate fashion. Here we were able to take stock of Bychkov’s
flexible tempi. He did not drive the piece forward manically, but let
it expand at a rate suitable for the Albert Hall’s problematic acoustic. The
‘Dies Irae’ was not the fastest performance that I have experienced, but
even when letting the music breathe Bychkov kept up the power and momentum in
an impressive fashion.
The chorus’s big solo moment, of course, comes in the ‘Sanctus’ where
they perform without the soloists. Here we got some beautifully detailed
singing, and fine dancing tone.
The soloists were an interesting bunch, each with a distinctive and
particular voice. Mezzo-soprano Pentcheva was a last-minute replacement for
Sonia Ganassi. Pentcheva has proven Verdi credentials; her voice combines a
distinctive dark hued lower register with a flexible upper, capable of some
lovely quiet singing. She has a strong vibrato which might not be to
everyone’s taste. She proved tasteful and flexible in her singing and brought
some great beauty to her quiet moments, along with vivid projection of
Calleja sang the tenor part with full tone and a fine sense of line; he
brought a fine sense of quiet rapture to the ‘Hostias’. Perhaps he missed
the more bravura elements of the part, but he was a fine ensemble singer
contributing intelligently to the many concerted solo moments. Ferrucio
Furlanetto brought a world-weary grandeur to the bass part; lacking the
ultimate in power, he showed commitment and discipline along with a fine sense
Finally, of course, we come to the soprano; whilst all the soloists have
their moments, Verdi’s use of the soprano in the final ‘Libera me’
ensures that it is the soprano who we remember best. Poplavskaya brought her
familiar plangent tones and beautifully expressive line to the role, singing
with a commitment which suggested she was living the part rather than just
singing a soprano solo. She floated some supremely lovely lines during the
piece, but these were always intelligently placed and not just vocalism for its
own sake. In the ‘Libera me’ she took the drama to the point where she was
in danger of becoming manner, but the ‘Requiem’ section where she sang just
accompanied by the unaccompanied choir was simply beautiful. Though I must
admit to having a slight reservation, Poplavskaya’s quiet plangency
threatened to push the notes below pitch, but this was a small point in what
was a very fine performance.
The soloists are more than just 4 individuals, Verdi asks them to sing in
ensemble rather a lot and to do so unaccompanied. Poplavskaya, Pentcheva,
Calleja and Furlanetto patently listened to each other and though their voices
were very different, created a real ensemble. Most people who have heard the
Requiem quite a few times have stories about the intonation problems
in these ensemble passages. But not here. And in the ‘Agnus Dei
‘Poplavskaya and Pentcheva sang in octaves in a way which, whilst not quite
of one voice, came pretty close.
The BBC Symphony Orchestra provided sterling support and some brilliant
playing. Granted their string tone does not approach the vibrancy of the best
bands in this music, but they brought commitment, intelligence and delicacy.
Bychkov controlled all in a way which allowed the detail of the work to be
felt without compromising the big moments. This was certainly a performance of
contrasts. Inevitably some detail gets lost in the Albert Hall, but Bychkov
brought out much that was finely wrought, then contrasted it with some
spectacularly loud moments. The ‘Dies Irae’ and the ‘Tuba Mirum’ are
not the be all and end all of a performance of Verdi’s Requiem; here
these big moments were big indeed but contrasted with some moments of nicely