Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

Three Centuries Collide: Widmann, Ravel and Beethoven

It’s very rare that you go to a concert and your expectation of it is completely turned on its head. This was one of those. Three works, each composed exactly a century apart, beginning and ending with performances of such clarity and brilliance.

Seventeenth-century rhetoric from The Sixteen at Wigmore Hall

‘Yes, in my opinion no rhetoric more persuadeth or hath greater power over the mind; hath not Musicke her figures, the same which Rhetorique? What is a but her Antistrophe? her reports, but sweet Anaphora's? her counterchange of points, Antimetabole's? her passionate Aires but Prosopopoea's? with infinite other of the same nature.’

Hrůša’s Mahler: A Resurrection from the Golden Age

Jakub Hrůša has an unusual gift for a conductor and that is to make the mightiest symphony sound uncommonly intimate. There were many moments during this performance of Mahler’s Resurrection Symphony where he grappled with its monumental scale while reducing sections of it to chamber music; times when the power of his vision might crack the heavens apart and times when a velvet glove imposed the solitude of prayer.

Full-Throated Troubador Serenades San José

Verdi’s sublimely memorable melodies inform and redeem his setting of the dramatically muddled Il Trovatore, the most challenging piece to stage of his middle-period successes.

Opera North deliver a chilling Turn of the Screw

Storm Dennis posed no disruption to this revival of Britten’s The Turn of the Screw, first unveiled at Leeds Grand Theatre in 2010, but there was plenty of emotional turbulence.

Luisa Miller at English National Opera

Verdi's Luisa Miller occupies an important position in the composer's operatic output. Written for Naples in 1849, the work's genesis was complex owing to problems with the theatre and the Neapolitan censors.

Eugène Onéguine in Marseille

A splendid 1997 provincial production of Tchaikovsky’s take on Pushkin’s Bryonic hero found its way onto a major Provençal stage just now. The historic Opéra Municipal de Marseille possesses a remarkable acoustic that allowed the Pushkin verses to flow magically through Tchaikovsky’s ebullient score.

Opera Undone: Tosca and La bohème

If opera can sometimes seem unyieldingly conservative, even reactionary, it made quite the change to spend an evening hearing and seeing something which was so radically done.

A refined Acis and Galatea at Cadogan Hall

The first performance of Handel's two-act Acis and Galatea - variously described as a masque, serenata, pastoral or ‘little opera’ - took place in the summer of 1718 at Cannons, the elegant residence of James Brydges, Earl of Carnavon and later Duke of Chandos.

Lise Davidsen: A superlative journey through the art of song

Are critics capable of humility? The answer should always be yes, yet I’m often surprised how rare it seems to be. It took the film critic of The Sunday Times, Dilys Powell, several decades to admit she had been wrong about Michael Powell’s Peeping Tom, a film excoriated on its release in 1960. It’s taken me considerably less time - and largely because of this astounding recital - to realise I was very wrong about Lise Davidsen.

Parsifal in Toulouse

Aurélien Bory, director of a small, avant garde theater company in Toulouse, staged a spellbinding Parsifal at the Théâtre du Capitole, Toulouse’s famed Orchestre National du Capitole in the pit — FYI the Capitole is Toulouse’s city hall, the opera house is a part of it.

An Evening with Rosina Storchio: Ermonela Jaho at Wigmore Hall

‘The world’s most acclaimed Soprano’: the programme booklet produced for Ermonela Jaho’s Wigmore Hall debut was keen to emphasise the Albanian soprano’s prestigious status, as judged by The Economist, and it was standing-room only at the Hall which was full to capacity with Jaho’s fervent fans and opera-lovers.

Parsifal in Palermo

Richard Wagner chose to finish his Good Friday opera while residing in Sicily’s Palermo, partaking of the natural splendors of its famed verdant basin, the Conca d’Oro, and reveling in the golden light of its surreal Monreale cathedral.

Vladimir Jurowski conducts a magnificent Siegfried

“Siegfried is the Man of the Future, the man we wish, the man we will, but cannot make, and the man who must create himself through our annihilation.” This was Richard Wagner, writing in 1854, his thoughts on Siegfried. The hero of Wagner’s Siegfried, however, has quite some journey to travel before he gets to the vision the composer described in that letter to August Roeckel. Watching Torsten Kerl’s Siegfried in this - largely magnificent - concert performance one really wondered how tortuous a journey this would be.

I Capuleti e i Montecchi in Rome

Shakespearean sentiments may gracefully enrich Gounod’s Romeo et Juliet, but powerful Baroque tensions enthrall us in the bel canto complexities of Vincenzo Bellini’s I Capuleti e i Montecchi. Conductor Daniele Gatti’s offered a truly fine bel canto evening at Rome’s Teatro dell’Opera introducing a trio of fine young artists.

Santtu-Matias Rouvali makes versatile debut with the Royal Concertgebouw Orchestra

Finnish conductor Santtu-Matias Rouvali has been making waves internationally for some time. The chief conductor of the Gothenburg Symphony Orchestra is set to take over from Esa-Pekka Salonen as principal conductor of the Philharmonia Orchestra in 2021.

Tristan und Isolde in Bologna

East German stage director Ralf Pleger promised us a Tristan unlike anything we had ever seen. It was indeed. And Slovakian conductor Jura Valčuha gave us a Tristan as never before heard. All of this just now in the most Wagnerian of all Italian cities — Bologna!


Seductively morbid – The Fall of the House of Usher in The Hague

What does it feel like to be depressed? “It’s like water seeping into my heart” is how one young sufferer put it.

Daring Pairing Doubles the Fun by Pacific Opera Project

Puccini’s only comedy, the one act Gianni Schicchi is most often programmed with a second short piece of tragic fare, but the adventurous Pacific Opera Project has banked on a fanciful Ravel opus to sustain the mood and send the audience home with tickled ribs and gladdened hearts.

OPERA TODAY ARCHIVES »

Performances

Anna Christy [Photo by Dan Rest courtesy of Lyric Opera of Chicago]
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.

Stars of Lyric Opera at Millennium Park, Chicago

Click here for additional information.

Above: Anna Christy [Photo by Dan Rest courtesy of Lyric Opera of Chicago]

 

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 Faust.

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 Tonio’s epiphany.

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 performances.

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 puritani.

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 Chicago.

Salvatore Calomino

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):