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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.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
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.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
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.
27 Aug 2011
Two one-act comic operas from New York Festival of Song
The New York Festival of Song, created and run by Steven Blier and Michael Barrett, dedicates itself to what one might call “American lieder” — art songs by top American composers, classic Broadway, and operatic numbers.
In 2008 the festival branched out to present two one-act comic operas. The
two librettos by Mark Campbell center on domestic love. In
Bastianello, a new groom leaves his wedding after his wife displeases
him, and through a series of encounters with other couples, learns that in a
marriage, one must learn to forgive others’ faults. Lucrezia finds
the title character married to an older man, and seduced by one Lorenzo, but it
is Lorenzo who finds at the end that it is he himself who has been seduced.
Campbell writes some exceedingly clever lines, which sometimes zing and
sometimes — don’t zing. The actual plot shenanigans tend to be rather
cumbersome, so Campbell relies often on the unexpected rhyme to prompt a giggle
“In my heart these feelings aren’t foreign.
To end this fight/We’ll do what’s right
And flip a florin.”
That “florin” gives a taste of the rather dated genre here — if the
copyright for these libretti were 1908 instead of 2008, only the occasional
anachronism would be alarming. But Campbell does have some lines less musty and
“Is the sex cold? Is it distant? That’s a laugh. Try
All the funny lines imaginable, however, wouldn’t deepen the
characterization or supply the missing narrative interest. “Clever” can
only go so far in maintaining interest in a story and characters, even in one
act operas. The composers had their work cut out for them. William Bolcom’s
music for Lucrezia fares best, possibly because the libretto he scored
is less segregated into scenes. Bolcom is able to keep up a constant flow of
fairly attractive musical invention, shifting subtly from one mood to another.
His familiar mélange of ragtime, tango and faux-Gershwin works well for the
story. Blier and Barrett at the pianos certainly play with rhythmic flair.
John Musto’s idiom for Bastianello is not radically different
from Bolcom’s, but drier melodies and less variety of tempo makes this
shorter opera feel as long as Lucrezia. The five singers seem to be
enjoying themselves greatly, at any rate, and seen live they surely made a fine
impression. Paul Appleby has a supple tenor voice, perfect for “male
ingénue” parts. Matt Boehler and Patrick Mason take on the male “character
voice” parts and mug in ways appropriate to the settings. Sasha Cooke
captures the sly scheming of Lucrezia very well, and she and Lisa Vroman
skillfully take on multiple roles in Bastianello.
Sondheim-aficionados and fans of the type of well-trained vocalism on
exhibit here will find this Bridge recording enjoyable enough. It may not
represent the ideal calling-card for the New York Festival of Song, however.
Fortunately, that institution seems to be enough of an established success that
a calling card — as antiquated a concept as much of the libretti’s
dramaturgy — should prove superfluous.