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Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
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.