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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.
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.
28 Sep 2011
Ioan Holender Farewell Concert
What better way for the long-reigning director of the Vienna State Opera, Ioan Holender, to celebrate the end of his time in the post than with a lengthy gala featuring such stars as Gergely Németi, Roxana Constantinescu, Krassimira Stoyanova, and Keith Ikaia-Purdy?
Perhaps some will say, a better way would be to also have Plácido Domingo, Leo Nucci, Anna Netrebko, and Thomas Hampson, among others, and sure enough, they appear as well. Actually, the mix of performers — from the most famous names to those of aspiring stars — makes the almost four hours two-disc set of the recorded gala distinguishable from the usual gala fare strictly limited to only the most well-established of performers. Nonetheless, Deutsche Grammophon could not resist giving the set the oddly-phrased subtitle of “A Benefit Gala with Opera World Stars.”
In terms of quality, the four hours steer a very erratic course. A listless Rienzi overture opens the evening, with Zubin Mehta the first of many conductors to pick up the baton in a sort of “conductor relay race” to the podium. The editing makes it impossible to tell if the performers are presented in their true order of appearance. Antonio Pappano has the baton next in the DVD, with Plácido Domingo signing “Winterstürme.” The great tenor is not quite warmed up, but the audience is grateful for his presence anyway. For the next several selections on disc one, the gala slowly slides into effortful mediocrity, with a not very impressive Nadia Krasteva lighting no fires in “Stride la vampa,” and the cellists seen behind her appearing to be a nod away from falling asleep at their instruments. Bertrand de Billy leads a truly unfortunate Hoffmann sextet, with intonation differences reaching Schoenbergian proportions. Two selections from Così pass unmemorably in the staid professionalism of Michael Schade and Barabara Frittoli, although Angelika Kirchshlager tries to liven things up. An unquestionably elegant tenor, Ramón Vargas simply doesn’t have the tenor juice to make a chestnut like Giordano’s “Amor ti vieta” really ring out, though he is in good form later for Roméo’s “Ah! lève-toi, soleil!.”
The first glimpse of gala greatness comes when Soile Isokoski appears, with the fresh choice of Agathe’s aria from Freischtuz. With pure tone and security of intonation, this singer, who can be an unprepossessing presence, shows what true artistry can do. Thomas Quastoff also offers an unorthodox selection, from Strauss’ Die schweigsame Frau, but the pleasure in hearing this rare but quite appealing aria is qualified by concern over the baritone’s difficulty with staying in tune, especially in his lower range. Waltraud Meier almost matches Isokoski’s success with an inspired “Mild und leise,” and there are very professional turns by Leo Nucci, Thomas Hampson and Diana Damrau, who closes the first disc. Of the lesser known names on disc one, the best impression is made by tenor Saimir Pirgu, who gets one of the very few Puccini selections of the night, taking on Rinuccio’s aria from Gianni Schicchi. He just needs to secure his very top notes to have a chance at reaching “Opera World Star” status.
Disc two starts off with Vargas and then an ensemble from Die Frau ohne Schatten that rivals the earlier Hoffmann selection for dismaying group intonation. This continues to be a problem with duets from Peter Seiffert and Petra Maria Schnitzer (“O sink herneider”) and Angela Denoke and Stephen Gould (from Korngold’s Die tote Stadt). The dependable Ferrucio Furlanetto brings his King Philippe — yes, in French — to the stage. It is a great piece, but at 10 mostly somber minutes, perhaps not the best gala choice. Johan Botha seems to be a Vienna favorite, as the response to his secure but unaffecting “In fernem Land” is much more energetic than his performance. That same audience — supposedly sophisticated — interrupts Anna Netrebko’s Manon showpiece twice with applause, in the same places where audiences always do. The rest of the disc two gathers steam, with Natalie Dessay, Piotr Bezcala, and Simon Keenlyside providing real star power.
Leo Nucci leads the not unexpected finale of the closing ensemble from Falstaff, after a brief speech from the guest of honor (who also opens the program with some words). Interestingly, the preceding two selections, at least as seen on the DVD, seem to throw a dark shadow on Holender’s perspective as he leaves this major position. First we have Loge teasing the Gods as they lose their power without the golden apples in Das Rhiengold, and then Keenlyside’s Macbeth, saying farewell to “Pietà, rispetto, onore.” Intention or coincidence? Only Holender can say.
Although as seen on DVD the gala evening cannot be called a huge success, this recording has value as a document of the state of today’s “World Opera Stars” and as a place to catch a handful of very fine performances — with “rispetto” and “onore” most deservedly going to Soile Isokoski.