Recently in Performances
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
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.