Recently in Performances
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
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