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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
28 Sep 2011
Lucrezia Borgia in San Francisco
Bad news travels fast. Though you are about to read another version of how American diva Renée Fleming failed to bring Lucrezia Borgia alive, let us begin by discussing a few other things you already know.
Venetian facades are marble, not brick, thus it takes more than blue light rippling on red brick walls to evoke Venice. Lucrezia’s new home Ferrara was not towering walls of Styrofoam bricks painted red, plus it is obvious that all of Lucrezia’s evil machinations did not occur in a strong, golden sunset sidelight.
Rolex is not spelled Borgia, even though the golden insignia that hung over the stage seemed to advertise luxury watches, and the B wrenched from the Borgia name (that somehow found itself inscribed on a tomb in Ferrara) was a dead ringer for the serifed first letter of Bulgari.
Amazingly Mme. Fleming’s second act, stupendously rich gown upstaged both red Styrofoam and gold gel (the transparent film that colors stage lights), and the ridiculousness of her third act soldier disguise (revealing ample décolletage under a bouffant wig) upstaged her maternal anguish (she had had to poison her son).
Michael Fabiano as Gennaro and Elizabeth DeShong as Maffio Orsini
Mme. Fleming has carefully nurtured the image of American artistic luxury. Her porcelain persona was everywhere evident on the War Memorial stage. Mme. Fleming is at the same time a very intelligent artist who possesses a unique talent and a beautiful voice. Perhaps if this production had presented her as a real person we might have perceived a full, beautifully voiced character of brutal mind and twisted integrity.
Donizetti and his librettist’s idea of Lucrezia Borgia is as a bel canto heroine — no matter how horrible a person she may be, and how terrible her circumstances become, the music must always be beautiful, her voice soaring gloriously. Bel canto titillates its acolytes (willing audiences) with this contradiction. In the artificial atmospheres of this production that set out solely to beautify Mme. Fleming she read as dramatically and vocally insipid. And, well, the opera is all about her.
Lucrezia Borgia boasts sensational subject matter beyond infanticide. Her son Gennaro has sworn eternal love to his friend Maffio Orsini, who is actually a girl because it is a pants role. So a guy loves a guy who is actually a girl. Unfortunately this production precluded any resulting sexual titillation by casting diminutive mezzo Elizabeth DeShong as Orsini who read as Gennaro’s belligerent baby sister.
Even so the B in bel canto did succeed somewhat in forcing its way into the theater. Italian conductor Riccardo Frizza provided a solidly idiomatic if uninspired reading of Donizetti’s score, perhaps in reaction to the production. American tenor Michael Fabiano gave great pleasure, as a singer he is stylish and correct as evidenced in his splendid “Di pescator ignobile," and he glowed as an accomplished actor in scenes with his no affect mother. Ukrainian bass Vitalij Kowaljow made a big impression as Lucrezia’s third husband, Alfonso d’Este, tearing up the stage with his showpiece "Vieni, la mia vendetta!"
Vitalij Kowaljow as Duke Alfonso and Daniel Montenegro as Rustighello
While Mlle. DeShong did not physically measure up to Orsini she proved herself to be a strong singer. Among the smaller roles the Rustighello of Adler Fellow Daniel Montenegro was effectively drawn.
The libretto by Felice Romano is undeserving of ridicule. It accomplishes what a bel canto libretto sets out to do — create situations that can only be resolved by beautiful singing. But Lucrezia Borgia is like a carefully constructed short story where there is not one word too many, and in fact Donizetti revised the opera several times so maybe there is not one note too many either. It is this stark minimalism that shunts this blunt opera from masterpiece status.
Stage direction, sets and costumes are all by English producer John Pascoe, a production he created for Mme. Fleming at the Washington Opera in 2008.