Recently in Reviews
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
21 Sep 2011
Turandot in San Francisco
Los Angeles has been good to Turandot. The gritty 1984 Andre Serban production inaugurated an opera company in Los Angeles where a mere eight years later L.A. Opera bestowed the splendid Luciano Berio ending upon the world in an uber-pompous Gian-Carlo del Monaco production.
Meanwhile that same year (1992) Los Angeles artist David Hockney bestowed a Turandot upon San Francisco (and Chicago) that is pure Tinseltown. L.A. is famously the Hockney muse, thus the specific muse for the technicolor Hockney Turandot has to have been Grauman’s Chinese Theater. Like this National Historic Monument, the Hockney Turandot vibrates in theatrical shapes and Chinese red, and by now it too is an historic monument.
San Francisco has put its unique stamp solidly on Turandot as well. The 1977 Jean-Pierre Ponnelle production had its massive stone Buddha that gestured and wept blood when the steely Monserrat Caballé succumbed to Luciano Pavarotti in their role debuts, this back in the days when San Francisco Opera pushed the progressive opera envelope in the U.S.
Leah Crocetto as Liù
These days it is a bit different in San Francisco. There is a stamp of a different sort, it is musical and it too pushes the envelope. Specifically it is the quixotic Italian conductor Nicola Luisotti who makes every score he touches vibrate with color, energy and sometimes questionable theatricality. Put this together with the timeless Hockney Turandot and you hit remarkable pay dirt — the current Turandot in San Francisco!
The Hockney Turandot is, no surprise, like a painting in that it is two dimensional. On this flat surface Ping, Pang and Pong complain, Liu sacrifices, Calaf thunders and Turandot rages. The lack of depth plays directly into the hands of the maestro who likes his singers right downstage center where he communes mightily with his voices and maybe even with Puccini. The current staging by Carnett Bruce is sensitive to artist, character and story telling, and it is precise and efficient in somehow getting and keeping the artists where the maestro wants them and where Hockney surely saw them.
The performance was riveting from beginning to end. Even so there were those scenes that glowed with new life — the Ping, Pang, Pong conversation for example, made intimate by the three Hockney straight backed chairs painted onto a drop and by the maestro’s oh-so smooth intermingling of their vocal lines. Liu’s first act prayer 'Signore ascolta' was magical in its Adler Fellows innocence, and the Alfani duet (“who is Berio?” Luisotti surely would ask) that ends the opera was articulated with a surprising intimacy that made us actually feel a renewed humanity — no small feat amidst all that bombast.
Marco Berti as Calaf, Gred Fedderly as Pang, Daniel Montenegro as Pong and Hyung Yun as Ping
The biggest vocal presence was Italian tenor Marco Berti as Calaf who used his strangely brutal 'Nessun dorma' to threaten the Chinese royalty and population even more, and more quickly dismiss Liu’s sacrifice. Swedish soprano Iréne Theorin was far more lyrical in her capitulation than the usual Turandot, though there was icy rage aplenty as she well anchored this story of anger versus power. Against this big house firepower the Liu of Adler Fellow Leah Crocetto was indeed sacrificial, a sacrifice of this symbolic character who must fully embody the supernal power of love. The mix of musical cultures does not work — the Adlers are specifically nurtured contemporary artists whose sophistication is at odds with can belto international artists.
The Timur of Raymond Aceto fulfilled its narrative obligations without adding pathos. The Ping of Hyung Yun dominated the trio of courtiers in association with the vivid Pang of L.A. character tenor Greg Fedderly. Pong was Adler Fellow Daniel Montenegro.
The visual sophistication of the David Hockney Turandot begs precise and brilliant lighting, a need recognized from the inception of this production those many years ago. Just now the lighting was reconfigured by Christopher Maravich though the ending was new. Mo. Luisotti endowed the final chord of the performance with an intense, nearly screaming crescendo that was matched by a crescendo of bright, brighter, blinding light.