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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
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.
02 Oct 2011
Eugene Onegin, Los Angeles
Kudos to the Los Angeles Opera Company for expanding its heretofore limited
Russian repertoire and opening its 26th season with Tchaikovsky’s
Eugene Onegin. The romantic work based on the novel in verse of the
same name by Alexander Pushkin, is likely everyone’s favorite
Kudos too, for having presenting the work in a production created by the
late Stephen Pimlott for the Royal Opera House and the and the Finnish National
Opera (more about this later) which, though it sparked discontent at its 2006
London premiere, introduces a new view of the tale.
Whereas Pushkin narrated his lengthy lyrical poem filled with wit, cynicism,
and psychological insights, Tchaikovsky and his librettist Konstantin
Shilovsky reduced the work to intimate scenes focused directly on their
principal characters. In both versions, however, the story is set at a time
when rank and status mattered, when women were essentially powerless. Eugene
Onegin, the eponymous protagonist (one can’t call him a hero) of the
work, is the wealthy neighbor of the widow Larina and her young daughters, Olga
and Tatiana. Onegin, who has wandered the world, lives the dissolute life of a
Byronic Don Juan, and carries himself with the aristocratic mien of Jane
Austen’s Mr. D’Arcy, is introduced to the Larin household by the
poet Lensky, in love with Olga. The three woman, attended by a nanny, live as
did Elizabeth Bennett, a modest country life. But in this story, it takes only
a glance for young Tatiana to fall in love with the elegant Onegin. The same
night, unable to sleep, overflowing with passion and impetuosity, she writes a
letter to Onegin offering him her heart.
When the two meet the next morning Onegin honorably, but coldly returns the
humiliated girl’s letter and rejects her love. Later, bored at a local
ball, he flirts with Olga and incenses Lensky to the point where the poet
challenges him to a duel Lensky is killed and Onegin returns to his aimless
wandering life. When, in Act 3 Onegin and Tatiana meet again, she is the wife
of a prince. Now it is Onegin who will write a letter and plead for love.
Tatiana first upbraids him for his past cruelty, then confesses that she still
loves him. But refusing to renounce her vows, she leaves him alone to his
despair. Is this a story of payback, as one reviewer described it? Is it about
class and caste? Is it about a country girl’s solid values, set against
the nihilism of a sybaritic life? Or does it reflect as many Pushkin scholars
believe, the battles raging within Pushkin himself? It should not be surprising
to find new interpretations of the work.
Though not a cast well-known to American opera goers, Los Angeles assembled
four stellar principals with knowledge of the language and familiarity with
their roles, which always brings a a sense of ease to a production. Baritone
Dalibor Jenis was a full voiced, if somewhat stiffly mannered Onegin, until the
last scene when rejected by Tatiana, jacketless and unkempt, he seemed to me a
maddened Don Jose. Oksana Dyka’s role as Tatiana took her in an opposite
emotional direction. In voice and manner she made the transition from love
starved teen ager to mature woman convincingly. I loved tenor Vsevolod
Grivnov’s ringing top voice as Lensky’s but sometimes I think I
love every tenor as Lensky. Mezzo-soprano Ekaterina Semenchuk sang Olga, and
Margaret Thompson, her mother, Larina with assurance and ease. There were three
young American artists in the cast. Ronnita Nicole Miller as Filipievna, the
nanny, has a rich voice wonderfully under control. James Cresswell sang Prince
Gremin’s aria with magnificent sonority and hit the low notes, but still
lacks that “innerness” that brings subtlety and shading. Keith
Jameson was a silky voiced Trinquet.
Dalibor Jenis as Onegin and Oksana Dyka as Tatiana
In the emotion-filled dramatic scenes that Tchaikovsky set, not only the
characters, but his music speak directly to our hearts. Conductor James Conlon
led the orchestra in a pulsing, radiant performance.
Pimlott’s intelligent production deserves a review of its own despite
some incomprehensible stagings: why Tatiana writes a letter bursting with
passion while bent over on the floor, I’ll never know. And why the
glittering third act “polonaise” is performed before a scrim
depicting death, remains a mystery to me. Suffice it now to say that with this
production Pimlott introduces us to Pushkin’s narrative viewpoint. Aided
by Antony McDonald’s sometimes outlandish costumes and Peter
Mumford’s always dramatic lighting, he gives us something of
Pushkin’s distant view of his characters by staging the action as though
painterly images set within a frame.
One last word about Tchaikovsky’s music. Tatiana, Lensky, Gremin and
Onegin have the four great arias of this opera. Leaving the theater, I could
recall snatches of the first three, all of which declare love, but not of
Onegin’s. His is the one about rejection.
And one other last word to thank Placido Domingo and the Opera Company for
including a touching tribute to Salvatore Licitra in its program.