Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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