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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
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.
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.
23 Dec 2011
Die Meistersinger von Nürnberg, Royal Opera House
Perhaps it’s no accident that Graham Vick’s Die Meistersinger von Nürnberg returns to the Royal Opera House for the Christmas season. Red, green, gold, sumptuous colours that warm a long, grey evening.
Die Meistersinger von Nürnberg is a comedy and here’s it’s
presented as the ultimate up market Xmas show. It’s extremely enjoyable, and
an ideal introduction to the opera experience. Richard Wagner, though, gets
Sir John Tomlinson is a definite reason for catching this revival. The days
when he could sing Hans Sachs are past, but he creates an unusually vivid Veit
Pogner. Tomlinson plays Pogner powerfully, as if he was a former Sachs, whose
reasons for committing his daughter to this bizarre marriage make sense. He’s
dedicating his daughter to art, not too shabby politics. Luckily for him, and
for Eva, Walter von Stolzing arrives in the nick of time. Indeed, Beckmesser
very nearly persuades the Meistersingers to drive Walter out of town. Things
could so easily have turned out quite differently. Die Meistersinger von
Nürnberg may be comic, but it evolves against a background of tension. At
any moment anarchy could breakout. Unless the Meistersingers adapt, they might
Wagner builds tension into the music. The Meistersingers sing at cross
purposes, and in the riot scene, the turbulence of the chorus evokes the
violence which comes with all revolution. That’s why the Night Watchman sings
“bewahrt euch vor Gespenstern und Spuk, dass kein böser Geist eu’r Seel’
beruck’!” The music for the apprentice boys is energetic, a warning for
those who remember Wagner’s protosocialism. This time, however, no dangerous
ideas. We’re treated to a good natured Meistersinger, where the
apprentices dance with little vigour, and the blows Sachs throws at David have
no menace. Antonio Pappano received the longest applause of all on the first
night,. Most audiences can relate better to joyful Romaticism in music better
than to Wagner-on-edge, so it’s understandable. He clearly enjoys the
life-affirming elements in this opera, which come over well. Christmas is not
the right time for radical ideas, and this is not a production that would
Graham Vicks’s riot scene is classic because it’s so well imagined. The
townsfolk pop out of windows and hang precariously upside down over the stage.
One man looks like he’s about to lose his footing (this happened in earlier
productions, so it was planned) In their nightshirts the townsfolk look like
escapees from an asylum, a good idea but not developed. The Festweise
scene is masterfully blocked, so each guild is clearly defined. I liked
the acrobats in the background, too. But these scenes aren’t for
entertainment but emphasize the traumas in Nürnberg’s past.
Because John Tomlinson so dominates the first Act, Wolfgang Koch’s Hans
Sach might be overlooked, but Koch understands the role. Sachs is an observer,
who stands apart from the crowd, and who thinks before he acts. Koch’s Sachs
is sung with sensitivity, and would be very effective in a more perceptive
production which focuses on Sachs and not the scenery. Koch looks and sounds
younger than the other Meistersingers and is rather more lyrical than Simon
O’Neill’s Walther von Stolzing who is more hoch dramatisch than
true Heldentenor. This was the best performance I’ve ever heard from
O’Neill, and he was good, but it’s a part better suited to a more luminous
timbre. O’Neill was, however, a good match for Emma Bell’s Eva, joyfully
created though perhaps more Italianate than Wagnerian. In a cheerful,
non-idiomatic production like this, it didn’t matter, and they conveyed the
story. Popular favourite, Toby Spence, sang a very good David, but he’s more
upper class than roustabout.
(L-R) Peter Coleman-Wright as Beckmesser, Wolfgang Koch as Hans Sachs, Heather Shipp as Magdalene, Simon O’Neill as Walther and Emma Bell as Eva
It was good to see many teenagers in the audience, another good reason for
having a show like this in holiday time. Last week, David Chandler took his
daughter to Kurt Weill’s Magical Night at the Linbury, (reviewed
here) and she was ecstatic. We can give kids toys anytime, but the gift of
a magical experience is beyond compare. And the same goes for adults, new to
opera. This Meistersinger may not tell us much about the opera or
about Wagner, but it’s an excellent night out.