Recently in Performances
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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