Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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