Recently in Performances
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
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One of the leading Russian composers of his generation, Alexander
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Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
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Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
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cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
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When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
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.