Recently in Performances
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).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim
) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
14 Aug 2011
Ariadne auf Naxos, Dell’Arte Opera Ensemble
Today’s general public labors under the unfortunate misconception that in order to enjoy opera, one needs to be educated and at ease with mobility in social circles largely consisting of decrepit old rich people.
What the general
public doesn’t understand is that this very same question has been
debated for centuries within the realms of opera itself. The question of
high-brow versus low-brow entertainment goes back at least to the creation of
Italian opera buffa, which dates from the Enlightenment. The comic, and
consequently unflattering, portrayal of the aristocracy which has come to
define opera buffa set the genre at odds with opera seria, which attempts to
depict the aristocracy as noble human beings who tragically suffer for the good
of the state. This binary, which epitomizes the adage that tragedy shows us our
betters, while comedy scoffs at the misfortune of others, has defined opera
ever since. However, by integrating operas buffa with opera seria, Richard
Strauss’s opera-within-an-opera, Ariadne auf Naxos, carried the
tradition of opera buffa into the 20th century.
Dell ‘Arte Opera Ensemble’s recent production of this bubbling
comedy should be commended for an all-around stylish performance which captures
the wit and the lyricism of this work. The term “Mozartian” has
been applied to other Strauss comedies like Die Liebe der Danae and
Der Rosenkavalier; however, this assessment sometimes seems
implausible simply because Strauss was working with an orchestra of Wagnerian
force. An orchestra of this size was simply not available to Mozart. This
explains my fear on seeing that the orchestra was considerably smaller than the
normal forces required. However, I was pleasantly surprised. Conductor
Christopher Fecteau struck a noteworthy balance between humor and aesthetics,
bringing a classical precision to the trio of the nymphs in the opera proper
was certainly reminiscent of Der Rosenkavalier.
Mezzo Sarah Heltzel was utterly compelling as the Composer (played by Juli
Borst on August 18 and 20). The blind devotion to music as an art form that she
injected into the character made the themes of the opera, the conflicts between
what a composer wants to write and what his audience wants to see, more
tangible than in Strauss’s last opera, Capriccio where the
question that was debated was whether, when writing an opera, were words or
music were more important. Like soprano Mary Ann Stewart, who played the
prima donna, (who is played by Jane Shivick on August 18 and 20) the
commitment that Heltzel brought to the role served as fodder for the contrast
between their idealized view of art and the more realistic view of opera, as
personified by the commedia dell’arte troupe and soprano
Jennifer Moore, who played Zerbinetta (played by Jennifer Rossetti on August 18
and 20). Stewart sang warmly, yet when called for, she could also sing
Jennifer Moore was delightfully girlish as Zerbinetta. Her portrayal
strengthened the parallels between Strauss and Mozart, as her Zerbinetta could
be a modern-day Zerlina or Despina. It should be said, however, that in the
Prologue, despite her glorious high notes, the body of her voice was slightly
heavier than other Zerbinettas, such as Elisabeth Schwartzkopf’s. That
said, she could be lyrical when called for. More importantly, Act II was her
time to shine. She clearly relished her showpiece; her cadenzas were simply
stunning. At the same time, her singing highlighted the implied mockery of the
proverbial bel canto scena, which coloraturas love to lose
their minds to.
As the Dance Master, Edwin Vega (played by Andrew Klima on August 18 and 20)
obviously had fun, and his light tenor was always a joy to hear. In the second
act, he vocally outshone the other the singers in the commedia
dell’arte troupe. That said, the troupe worked cohesively as a team
and created immensely comical portrayals of each character throughout. The trio
of the nymphs was in splendid vocal form as well. On the whole, the only rough
spot in the second act was Shawn Thuris’s rendition of Bacchus, which was
a little understated compared to that of his partners on stage. Even so, there
were moments where his singing shone through.
Dell’Arte Opera Ensemble is one of a number of organizations, such as
Wolf Trap Opera Company, that is dedicated to providing young singers with the
tools they need to succeed in the extremely competitive world of opera.
However, this company is still unique insofar as it performs in a Greenwich
Village loft, allowing the audience to be quite literally feet away from the
actors. I even had the honor of shaking hands with Zerbinetta. In this way,
Dell’Arte Opera Ensemble provides an invaluable experience not only for
its singers, but to its audiences as well.