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I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
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.
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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