Recently in Performances
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.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
09 Nov 2011
Tales of Hoffmann, Chicago
For its first production of the new season, Jacques Offenbach’s
Les Contes d’Hoffmann, Lyric Opera of Chicago assembled a
distinguished roster of soloists with the Lyric Opera Orchestra under the direction of Emmanuel Villaume.
Those characters populating the stage from
start to finish include an incarnation of the writer Hoffmann and his Muse, the
latter figure appearing also as the confidante Niklausse. Hoffmann’s
recurring nemeses, or the villains of individual acts, add of course to the
sense of continuity throughout the piece. The lead roles in this production are
strongly cast with Matthew Polenzani as Hoffmann, Emily Fons as the Muse/
Niklausse, and James Morris assuming the personae of Hoffmann’s
Alyson Cambridge as Giulietta and Matthew Polenzani as Hoffmann
As in comparable productions of Offenbach’s late opera the prologue
and first act are performed together. At the start of the prologue in this
conception pantomimic gestures show the inebriated Hoffmann being helped from
the stage by his Muse, just as Councillor Lindorf assumes his position before a
backdrop at the center. Lindorf’s rivalry with Hoffmann is now focused on
the diva Stella who currently sings in a local production of Mozart’s
Don Giovanni. As Lindorf bribes the diva’s servant to surrender
a communication intended for Hoffmann, the Councillor assures that he has the
advantage of a devilish spirit with an extended pitch on ”diable.”
In opposition to the “poète” Morris concludes his self-declaration
with an effectively declaimed “je suis vif.” This scene is
effective not only as a motivation for Hoffmann’s relating his amorous
adventures but also as a key to the opera’s conclusion when Stella indeed
leaves the stage accompanied by Lindorf.
During the remainder of the prologue the scene takes place in Luther’s
tavern. The collected male students, portrayed in a large tableau by the Lyric
Opera Chorus, are clearly inspired during intermission at the neighboring opera
and raise toasts to Stella. Once Hoffmann and Niklausse appear at the tavern,
the repartee with the students leads to Hoffmann’s well-known chanson
about the dwarf Kleinzach. As Hoffmann describes in his ballad the face of
Kleinzach his mind wanders to focus on his love for Stella. In this mixture of
musical styles and the subsequent veneration of Stella, Polenzani interspersed
a clear sense of legato with lyrical outbursts sung forte
(“figure,” “trois âmes dans une seule âme”) and showing
exquisite control of pitch. In his final cresting declaration before the close
of the prologue Polenzani introduces vocally Hoffmann’s emotional state
in preparation for the narratives of the following acts. (“Du bon
Emily Fons as Nicklausse and Matthew Polenzani as Hoffmann
In each of these subsequent acts an amorous entanglement leads to hope and
disappointment. The female objects of Hoffmann’s infatuation, Olympia,
Antonia, and Giulietta, are sung in this production by Anna Christy, Erin Wall,
and Alyson Cambridge. As Hoffmann first steals a glance at the mechanical doll
Olympia in Act I, Polenzani’s lyrical technique bloomed yet further
beyond his singing in the prologue. He sang at times piano with an
effective use of diminuendo as he described his devotion to the study
of physics primarily as a means to approaching the professor’s daughter
Olympia. These lines became even more credible for the persona of Hoffmann as
Polenzani’s characterization was delineated with effortless top notes.
Before the doll sings her famous aria Niklausse arrives and comments on
Hoffmann’s delusion and emotional distraction. Here Ms. Fons sang her
first solo piece with lyrical ease and presented an amusing caricature of the
doll as she mimicked it both vocally and with her own physically lithe
gestures. Hoffmann refuses to heed common sense and listens enraptured to the
doll Olympia’s voice. In this role Ms. Christy excelled at combining a
bright upper register in her melodic line with skillful coloratura decoration.
At the same time she sang in the spirit of the character so that her voice took
on the mechanical quality which her body communicated through gestures, as she
performed fixed in a rotating movable base. In his response to Olympia’s
movements and speech Polenzani depicts Hoffmann lost in his passion while he
casts off volleys of lyrical devotion. As Olympia’s identity is finally
revealed Polenzani concluded the act together with the chorus in alternating
cries of “Un automate” sung forte and with absolute control of
In Act II the characters Antonia, her father Crespel, and the voice of her
deceased mother contribute to Hoffmann’s second involvement. Erin Wall
sang a touching rendition of Antonia’s wistful opening romance,
“Elle a fui” [“She has flown away”]. Ms. Wall varied
her approach so that her softest notes blended fittingly with more dramatic and
fully voiced lines. In the role of Crespel bass-baritone Christian Van Horn
made a strong impression as Antonia’s protective father. As he implored
his weakened child to sing no longer, even the simple phrase “Je
t’en prie” [“I beg of you”] was infused by Mr. Van Horn
with memorable resonance. When Hoffmann and Niklausse enter on this scene, the
servant Frantz — sung her by Rodell Rosel with comic delight — is
alone, having just finished a pantominic dance. Hoffmann begs to be admitted to
his beloved Antonia’s presence, a meeting which Frantz has been forbidden
to allow. In the following series of set pieces the characters reflect on both
the role of love and on their own emotions. As one of the highlights of this
productions Ms. Fons sang the second aria for Niklausse while she tries to
persuade Hoffmann to devote himself to love as art (“Vois sous
l’archet frémissant” [“See beneath the quivering
bow”]). Fons used her voice with its secure low notes to great effect in
expressing the dominant spirit of “l’amour vainqueur,” just
as she concluded the aria by drawing on the exciting upper extension of her
range. Niklausse makes himself scarce at the reappearance of Antonia who now
finally sings together with Hoffmann. In their duet Wall and Polenzani showed
refined passagework, their voices moving apart and, again, in unison with
emotional commitment. At the entrance of Dr. Miracle, sung by Morris, Crespel
expresses great concern for his daughter’s well-being. Ultimately Antonia
succumbs to the persuasions of Dr. Miracle and to the voice of her dead mother,
sung here with resonance and authority by mezzo-soprano Jamie Barton in her
debut at Lyric Opera. When Hoffmann attempts to summon help, his beloved
Antonia has already died.
Erin Wall as Antonia and James Morris as Dr Miracle
The final involvement in the protagonist’s series of adventures
carries him to Giulietta’s palazzo in Venice. At the start of the final
act she and Niklausse sing the famous barcarolle; in this performance both
voices were distinctly audible as though both were woven into the melody. The
signature bass aria, “Scintille, diamante,” sung by Dapertutto to
tempt Giulietta, was sung by Morris with an attentive sense of line. Ms.
Cambridge fulfills well the vocal and dramatic challenges of her role, yet at
times her use of vibrato can lead to stylization.
In the epilogue to the opera Hoffmann has finished the narration of his
tales and is found, inebriated, together with the Muse. Even though Stella from
the prologue now appears for the assignation and leaves in the company of a
triumphant Lindorf, the audience presumes that Hoffmann will awaken in the
confident realm of Poetry.