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Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
21 Sep 2011
Heart of a Soldier, San Francisco
The house lights dimmed, SFO General Director David Gockley instructed us to stand and sing the Star Spangled Banner. This crucial moment revealed the intentions and complexities of this fine production at San Francisco Opera.
We immediately knew that we were not before San Francisco’s altar to operatic art but rather at an altar of national sentiment. Christopher Theofanidis and Donna di Novelli’s Heart of a Soldier is not great art, nor is it political or historical tragedy. It is what it sets out to be — an account. Strangely, and perhaps this was its hidden intention, it distills the destruction of New York’s World Trade Center to some very small components — a few men and women whose lives were and are simply insignificant to the larger historical perspectives of the twenty-first century.
San Francisco Opera pulled out its biggest guns to accomplish this task. Ring director Francesca Zambello created a slick and smart production, minimal in concept though maximal in execution (it was complex). It toyed with a few levels of two white high rise towers, a few scenic screens, some with projections, and a couple of sliding platforms.
The libretto held thirty named roles that San Francisco Opera covered with fourteen singers, led by no less than American baritone Thomas Hampson as Rick Rescorla, security chief at the WTC. Mr. Hampson obviously reveled in portraying this more colorful than interesting character who was, might we say, more headstrong than heroic.
SFO principal guest conductor Patrick Summers was at the helm of all these folks, plus a standard sized chorus and a modestly endowed Romantic era orchestra. There was remarkably little percussion limited to the service of orchestral color. Battle sounds were modest electronic reproductions of the real thing.
The key to understanding this remarkable evening is to take yourself back to that terrible day, as you could not help but do in anticipation of the performance. Thus it was already emotionally laden before the fact.
For most of us the destruction of the World Trade Center was a small event, which is to way it was the size of our television screen. What were certainly awesome roars emitted by the collapsing towers were no louder than the voices of those begging for news of loved ones, the visual images of the still standing towers were even smaller than these anonymous tortured faces.
Heart of a Soldier captured the anonymity of this calamity by recounting the life of but one of its 3000 victims, a life however that was fulfilled by its death in battle. This victim, Rick, was a soldier, his story was told in scenes in which he was among many soldiers on the many battlefields on which they fought. Justness of cause was never mentioned. It was simply life on a battlefield, the battlefield of life where finally you too will die. It was a metaphor for all its victims, at once huge and minuscule.
There was huge art involved in creating this opera. Donna di Novelli’s libretto was the structure, stating its themes and images, developing them and recapitulating all these themes on that fateful September 11, 2001. It might have seemed contrived except we soon perceived that these conceits were in fact structural, creating brief lyric musical spaces as well as the arc of the story. The lyric moments were however always too brief, never indulging in what were the inherently wrenching emotions we had braced ourselves to endure and maybe finally wished we had.
The score by Christopher Theofanidis was based on American musical vocabulary, our open fifths and fourths, our primitive dance forms and our chugging minimalism. Its musical sophistication was stratospheric — Mr. Theofanidis’ brilliant orchestration would have made Berlioz green with envy, his harmonic transports would have cowed Richard Strauss.
While the premise of Heart of a Soldier was challenging on so many levels, Mr. Theofanidis’ score simply was not. One longed for a fugue or at least some sense of music taking on a life of its own, music that transcended the word and the literal and pushed us to the edge of our sensibilities and our endurance, like 9/11 had. This splendidly beautiful music did not.
Rick Rescorla’s best friend Dan Hill was portrayed by tenor William Burden in a quite convincing and moving characterization of this simple American mercenary who converted to Islam. Rick’s second wife Susan was enacted by Melody Moore who achieved the simple vivacity of character asked by the libretto in vibrant voice. The opera’s lack of emotional indulgence was echoed by its absence of vocal indulgence, even Mr. Hampson was given but one small opportunity to place his operatic art before Rick’s swagger. Of the secondary roles only the medic Tom beautifully sung by Michael Sumuel and his girlfriend Juliet sung by Adler Fellow Nadine Sierra were offered somewhat extended opportunities for lyric expansion.
The final image was neither word nor music, it was simply the tableau of Dan Hill knelt in Islamic prayer and Susan Rescorla, arms uplifted sifting the dust of 9/11 through her fingers. It was the only emotionally overpowering moment of the performance.
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