Recently in Performances
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
05 Nov 2011
La sonnambula, Royal Opera
Bellini’s La sonnambula does not have the most gripping or
convincing of opera plots: a young girl sleepwalks into a stranger’s room, where she is discovered by her fiancé; disbelieving her pleas of innocence, he jilts her and plans to wed another; but, she is vindicated when she is spied on a nocturnal wander, and the lovers are reconciled.
wafer-thin text is more than compensated for by the composer’s ravishing
score and reams of gorgeous melody.
Jihoon Kim as Alessio
It’s a simple tale and needs a light touch. Sadly, in this revival of
Marco Arturo Marelli’s 2002 production, both the presumptuous direction
and Daniel Oren’s sluggish tempi weigh down the proceedings, and the
result is narcotic.
Not trusting the music itself to provide depth and insight, Marelli has
given the opera a ‘psychological makeover’. Thus, the Swiss village
setting is replaced by an Alpine sanatorium (intended, we are told, to suggest
the world of Thomas Mann’s The Magic Mountain) where Elvino
– no longer a local landlord but a composer – has been undergoing
treatment since the traumatic death of his mother. Bellini’s orphaned
maid, Amina, to whom Elvino is betrothed, is now a waitress at the sanatorium.
So, we have no gentle pastoral woods and byways, rather a sublime
mountain-scape panorama, visible through vast atrium windows; sublime, that is,
until an avalanche crashes through the windows and ruins the grand piano! And
the site of the opera’s only really dramatic event – the narrow
bridge over the rushing mill stream upon which the villager’s witness the
precarious exploits of the sleepwalking, thereby proving her innocence –
is also dispensed with. Instead, Anima has to navigate her way across the
wreckage of the piano. Nineteenth-century village yokels are replaced with
bustling nurses in crisp uniforms and wheelchair-bound patients sporting modern
evening dress. It’s enough to send us all to the asylum.
Michele Pertusi as Count Rodolfo and Eglise Gutierrez as Amina
But, bel canto is all about the singing, so perhaps some high-class
performances could rescue this production from insanity and inanity? Sadly, our
Elvino, Spanish tenor Celso Albelo, could not provide the stature and presence
required. While his diction was good and his tone sweet and pure, some
incredible high notes and considerable vocal agility could not compensate for a
total lack of charm. Albelo’s acting was leaden, and he needs to use his
face more expressively to ensure a fully convincing sense of style.
As Amina, Eglise Gutiérrez demonstrated a beautifully tender
pianissimo, floating, delicate upper notes, and an expressive vibrato.
Crucially, however, her Italian is very poor, and occluded diction destroyed
the inherent line of the melodies whose elegance is so intimately rooted in the
language. Gutiérrez also adopted an overly fussy approach to the demanding
coloratura. The florid passages stretched her technique to its limits, and she
simply didn’t have the notes, especially in the final aria, in which she
celebrates her lover’s return. Gutiérrez wasn’t helped by
Marelli’s decision to bring the curtain down at the very moment she
wakes, swap her demure, white nightgown for a plunging, scarlet velvet gown,
and force her to stand on a table to deliver this fiendish number. With soloist
and conductor wildly adrift, it made for an anticlimactic ending.
The rest of the cast were solid. Elena Xanthoudakis did a good job of
conveying Lisa’s bitter jealousy, and mastered the stratospheric
pyrotechnics (though why is she costumed as a lusty barmaid?); and as Count
Rodolfo, Italian bass-baritone Michele Pertusi was appropriately authoritative
and resonant. Elizabeth Sikora sang the role of Teresa, Amina’s foster
mother, most impressively, making much of her powerful interjections. Jihoon
Kim (Alessio), a Jette Parker Young Artist, and Elliot Goldie (Notary), a
member of the ROH chorus, were reliable in their minor roles.
Celso Albelo as Elvino and Elena Xanthoudakis as Lisa
Bellini composed the opera after a holiday in Como, where he admired the
landscape and simple pastoral lifestyles of the inhabitants; the folk music he
heard inspired him to create the beautiful, quite substantial, choruses which
abound in the score. The Royal Opera chorus were a bit ragged, but they did
have to endure Marelli’s silly stage antics; the instrumentalists of the
ROH orchestra fared better, despite Oren’s uninspiring, tentative
But, although Marelli’s sweeping scenic designs are pleasing to look
at, the production’s psychobabble is pretty unpalatable.