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As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
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.