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Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
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.