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.
26 Oct 2011
A Portrait of Manon — Young Artrists at the Royal Opera House
Without young artists, no art form will thrive or grow. The Royal Opera House’s Jette Parker Young Artists scheme nurtures the best from its young artists that their performances attract thoughtful audiences.
All members of the Royal Opera House Young Artists scheme are professionals, not students, and have extensive experience even before they come, as former Young Artist Simona Mihai put it “to be polished like gemstones”. Graduates of the scheme include Marina Poplavskaya, Jacques Imbrailo and Ekaterina Gubernova.
Most of the Young Artists are singers, but the scheme also covers other aspects of opera-making. The singers, directors and conductors in the scheme created this special performance of Massenet Le Portrait de Manon and Berlioz Les Nuits d'été to demonstrate their skills.
Massenet composed Le Portrait de Manon in 1894 as a one-act sequel to Manon. It is an excellent choice, coming after the Royal Opera House productions of Manon and Cendrillon. Knowing the background is valuable, as Le Portrait de Manon is essentially an epilogue to Manon. However, this Young Artists production was good enough that it could stand on its own.
Des Grieux (Zhengzhong Zhou) has grown old and bitter, so trapped in his grief that he's irritated when his lively young nephew Jean (Hanna Hipp) falls in love and wants to marry. The set (Sophie Mosberger) is very well designed, emphasizing Des Grieux's isolation, despite the trappings of wealth. There's a long rumination, in which Des Grieux sings about his past. Zhengzhong Zhou worked two years in France, and sang Valentin in Gounod's Faust earlier this month, so although he's only 27, he characterized Des Grieux's personality with emotional depth. His makeup was so well done, he looked as mature as he sounded. Pablo Bemsch, as Tiberge, Des Grieux's friend, was also very convincing, extending our sympathy with the predicament. Des Grieux isn't being unreasonable when he opposes Jean's marriage: perhaps he doesn't want the young man to be hurt as he was.
Zhengzhong Zhou as Des Grieux and Hannah Hipp as Jean
Love and youth will triumph, after all, as this is opera. Hanna Hipp is one of this year's new members of the Young Artists scheme, but she impressed greatly even as a student several years ago at the Guildhall School of Music and Drama. Here she's a vivacious young scamp in trousers. Maybe Des Grieux is right, Jean's too young to be tied down. But Hipp and Aurore (Susana Gaspar) are spirited, and their confidence in their roles makes the resolution inevitable. Stunned by Aurore's appearance, dressed as Manon, Des Grieux remembers and relents. If Manon the opera is tragic, Le Portrait de Manon is an invigorating romp, and in this performance, deftly executed.
Berlioz’s Les Nuits d'été is a song cycle, and even in the 1856 orchestral transcription heard here, doesn't transfer easily to the stage. In theory, there's no reason why not, and the undercurrent of dream unifies the group of songs. While the staging for Le Portrait de Manon was concise, enhancing, adding to meaning, the staging for Les Nuits d'été was clumsy. One bed might have sufficed. These songs express states of mind, not different characters.
Hannah Hipp as Jean, Pablo Bemsch as Tiberge and Susana Gaspar as Aurore
Pablo Bensch had been interesting as Tiberge earlier, so I was looking forward to his Villanelle. Unfortunately orchestra and singer weren't properly aligned, the winds entering insensitively, throwing the vocal line off kilter. Fortunately, Bemsch was better supported in Au Cimitiere. Hanna Hipp and Susana Gaspar sang the other songs. The balance was good, making a case for mixed voices. Berlioz sanctioned this, but it's usually impractical in recital — another good reason for paying attention to Young Artists Events, where repertoire is often approached in interesting ways.