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.
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.