Recently in Performances
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
21 Sep 2011
Stars of Lyric Opera at Millennium Park, Chicago
In a program of Italian and French arias and duets Lyric Opera gave to
Chicago audiences a preview of the first operas in its forthcoming season and
an opportunity to hear familiar voices as well as those soon destined to grace
the operatic stages of the world.
The Lyric Opera Orchestra was conducted by
Emmanuel Villaume, and Lyric Opera General Director Designate Anthony Freud
addressed in his welcome the outdoor audience of thousands assembled in
Millennium Park, Chicago. He commented on Lyric Opera’s new campaign
entitled “Long Live Passion,” as a means to celebrate the
particular feeling that opera can engender in listeners.
The first and last selections of the evening were sung by Renée Fleming who
now holds the position of Creative Consultant to Lyric Opera. In a moving
tribute to introduce the concert, which was dedicated to the memory of the
September 11, 2001 anniversary and to military personnel and first responders,
Ms. Fleming sang “You’ll Never Walk Alone” from Rogers and
Hammerstein’s Carousel. Fleming’s other solo pieces, sung
with commitment and truly individual touches of vocal color, included
“Lauretta’s aria” from Gianni Schicchi and
Marguerite’s “Ô Dieu! Que de bijoux!” from Gounod’s
In the first half of the concert Villaume conducted the overture to
Verdi’s Nabucco as a prelude to the vocal selections. The brass
and percussion in the overture were led with firm control, and as the woodwinds
entered one had the sense of a rounded conception. Despite some tempos taken
somewhat slowly the overall effect was a rousing statement of liberation. The
first aria, “O luce di quest’anima” from Donizetti’s
Linda di Chamounix, was performed by soprano Anna Christy. Ms.
Christy’s command of bel canto decoration was evident throughout both
parts of the aria. Her voice hovered on the declamation of “tenero
core” (“tender heart”) just as it lifted on the prediction
for her lover, “s’innalzerà” (“he will rise”). In
the second part of the aria, taken at a faster tempo Ms. Christy’s runs
and tasteful application of rubato and escape tones communicated for her
character a sense of passion as appropriate for this occasion. The following
two soloists, baritone Ljubomir Puškarič and René Barbera
performed staples of their particular repertoire. Mr.
Puškarič’s rendition of Riccardo’s “Ah! Per
sempre io ti perdei” from Act I of Bellini’s I puritani
showed a pleasing timbre with, at times, a need to focus more clearly on the
line as sung. His breath-control and unforced upper register augur well for the
future of this vocal type. Mr. Barbera sang Tonio’s aria “Ah, mes
amis” from Donizetti’s La fille du régiment. The tenor
introduced a nice sense of line to an aria which, for other singers, has often
focused instead on individual parts. At the same time, Mr. Barbera’s top
notes, released fearlessly on “mon âme” and “sa
flamme,” capped a performance which illustrated the absolute happiness of
During such a concert with manifold talents in evidence it would seem
difficult to single out individual vocalists for their memorable efforts. Yet
the performance given by mezzo-soprano Jamie Barton of Léonor’s aria
“Ô mon Fernand” from Donizetti’s La favorite
deserves particular recognition. Here was a voice that showed remarkable color
and depth from the first notes of her aria. One admired the security of range
as Ms. Barton’s voice lamented the fate of her love, the vocal line
descending to heartfelt emotional depths at “Hélas! est condamné!”
(“Alas! My love is condemned!). Her ascent to top notes on
“tout” (“everything”) and “justice” and the
cry of despair, which she took forte without a trace of harshness, prepared a
transition to the middle section of the piece. At this point Léonor appeals to
God for death. Her line, “fais-moi mourir” (“make me
die”), performed by Ms. Barton with a fully rounded expressiveness, made
the character’s entreaty all the more credible. In the last segment of
the aria, taken at a brisker tempo, Ms. Barton’s melodic agility and
dramatic high notes concluding on “sera morte avant ce soir”
(“will be dead before tonight”) gave an exciting finish to this
accomplished performance. As a whole, Ms. Barton’s aria was yet another
example of the passion in which both singers and audience participate and about
which Mr. Freud spoke as being an integral part of great operatic
In the remaining selections from the first part of this concert listeners
had the opportunity to hear soprano Susanna Phillips sing the Act I duet from
Lucia di Lammermoor with Mr. Barbera taking on the role of Edgardo.
Ms. Phillips has an excellent sense of adapting her voice to a role and to the
emotional complexities as they might change even within scenes. Her
legato singing throughout was impressive, and her shading on words
such as “pensiero”and “messaggiero” made her hopes for
a letter from Edgardo seem even more plaintive. This part of the evening also
featured bass James Morris in two selections. In his performance of
Procida’s aria “O tu, Palermo” from Verdi’s I
vespri siciliani Morris’s flexible line and his superb Italian
diction made much of the aria. Before the intermission he shared the stage with
Mr. Puškarič as they sang the duet for bass and baritone from I
In the shorter, second part of the concert both the solo and ensemble
singing continued to introduce less familiar pieces alongside well known
selections, all performed with style and commitment. Ms. Christy and Ms. Barton
performed the duet for the title character and Mallika from Delibes’s
Lakmé. The voices blended very effectively with Ms. Barton providing
just enough mezzo-soprano heft to suggest a woven texture of the two
performers. In the barcarolle from Les contes d’Hoffmann Ms.
Fleming sang together with mezzo-soprano Emily Fons. Just as in the duet from
Lakmé the two singers started at different points yet merged vocally
to achieve a rich, undulant blend. As a solo piece Ms. Fons performed afterward
the aria for Niklausse “Vois sous l’archet fremissant”
(“See beneath the quivering bow”) from Les contes
d’Hoffmann. In keeping with her character’s message to
Hoffmann Ms. Fons lent great pathos to extended low notes on
“l’amour vainqueur” (“conquering love”) and
“douleur enivrée” (“anguish of passion”). The romance
as here performed by Ms. Fons encouraged Hoffmann to find solace in art, just
as the sounds of the strings seemed to echo effectively in her delivery. Also
in this second part Ms. Phillips performed Juliette’s well known
“Je veux vivre” (“I want to live”) from Gounod’s
opera. Noteworthy was the vocal coloration by which Ms. Phillips communicated
the youthful naïvete of Juliette while other parts of the aria as sung hinted
at an adult and realistic perspective. Also included in this segment of the
concert was an ardent performance by Matthew Polenzani of Werther’s aria
“Pourquoi me réveiller” (“Why awaken me”).
The audience in Chicago was treated to a well chosen variety of vocal
splendor and has much passion ahead in the upcoming season of Lyric Opera of