Recently in Performances
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.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
23 Jan 2012
A Noteworthy Ariadne auf Naxos, Chicago
Richard Strauss’s opera Ariadne auf Naxos presents challenges in casting not only because of the vocal line and identity associated with individual characters but also because of its nature as a self-comment on the musical stage and the requisite dramatic skills thus needed.
Lyric Opera of
Chicago succeeds in meeting these challenges on both accounts in its recent
revival. The title role was sung by Amber Wagner, the Composer in the Prologue
by Alice Coote, Zerbinetta by Anna Christy, and the god Bacchus by Brandon
Jovanovich. Other roles showing strong performances include Eike Wilm Schulte
as the Music Master, Matthew Worth (debut) as Harlekin, and Nili Riemer
(debut), Jamie Barton, and Kiri Deonarine (debut) singing the three nymphs
Naiad, Dryad, and Echo respectively. Sir Andrew Davis conducted the Lyric Opera
Orchestra in a fluid and moving performance of Strauss’s score.
Alice Coote as the Composer
During the instrumental prelude to the first part the audience is presented
with preparations for a seventeenth-century production. Scaffolds, doorways to
dressing rooms, props and primitive dramatic machinery clutter the stage in
this self-reflective Prologue to the varieties of entertainment scheduled to
follow. The performers of the evening run about their tasks until the first
exchange of dialogue between the Music Master and the Major Domo of the palace.
Eike Wilm Schulte’s fluency and projection of both spoken and sung German are
exemplary as needed to steer a course of diplomacy between the Major Domo’s
demands and the sensitivity of his pupil, the Composer. Schulte’s
legato and attention to pitch in distended notes enhanced his
desperation in trying to fulfill multiple roles. In the speaking role of the
Major Domo David Holloway cut an appropriately pompous figure while relaying
his maser’s whims in a bureaucratic monotone. When the Composer, visible in
diligence at his desk from earlier in the Prologue, begins to react to news
from the Music Master, Alice Coote’s voice blooms with passion and devotion
to the musical art. Her wide range with a fluid transition from low to secure
top notes was used skillfully to convey the Composer’s consternation and
disbelief that his serious opera “Ariadne” was to be mixed with low comedy.
Anna Christy as Zerbinetta with commedia dell’arte troupe
Phrases such as “Allmächtiger Gott” and “Nach meiner Oper ein lustiges
Nachspiel!” [“Almighty God” “A humorous interlude after my opera!”]
showed effective use of Coote’s dramatic sense of vocal transition. As the
Prima Donna and Tenor for the opera plead the importance of their own roles,
the Composer swirls in further controversy. Only after he learns that his opera
must be performed simultaneously with the commedia, Zerbinetta and
Her Four Lovers, does attention focus primarily on the personalities of
the Composer and Zerbinetta. Ms. Christy had portrayed a sprightly, playful
figure until this point. Her own transformation into a counterpoint for the
Composer is not only convincing dramatically, but it is also demonstrative of a
vocally altered character. The Composer, in turn, declares that he would prefer
to toss his precious score into the fire, detailed excitingly by Coote with
ascending pitches on “Lieber ins Feuer.” During the ensuing duet both
characters seem to lose their animosity, with the Composer’s interest clearly
in acceleration. Although he continues to take himself seriously, Zerbinetta
makes him see everything, as Coote declares urgently, “mit anderen Augen”
[“with different eyes”]. During their interchange Davis provided excellent
orchestral support with the woodwinds standing out especially in expressive
lines parallel to those for the voice. Coote’s final aria, “Musik ist eine
heilige Kunst,” [“music is a holy art”] was delivered as a heartfelt
soliloquy with effectively held notes emphasizing the Composer’s sincere
dedication to his art. When pulled out of this self-absorption by
Zerbinetta’s whistle and calls to prepare her troupe, Coote ended the
prologue with dramatic expressiveness on “frieren, verhungern, sterben”
[“to freeze, to starve, to die”] as reactions to this unexpected
In the prelude to the opera proper Davis’s conducting brought out the
rich, orchestral colors with horns balancing off the nicely integrated string
playing. The three nymphs, who introduced the act with questions and
repartee on Ariadne’s emotional and physical state, sang distinctly
as a trio with vocal decorations blending fittingly. Ms. Wagner’s entrance
began with solidly produced low notes followed by equally impressive and
emotionally charged high pitches on “Mein Kopf ist leer” [“My mind is
empty”]. Wagner’s dramatic approach to “Dies muß ich finden” [“I
must find this”] prepared Ariadne’s personality for the aria “Es gibt ein
Reich” [“There exists a kingdom”]. In this performance Ms. Wagner drew on
her preceding vocal characterization and added moments such as a deep emphasis
on “Totenreich” [“realm of death”] contrasting with an impressive high
pitch on “Hermes, stiller Gott.” When she described being alone, “ganz
allein,” with a touching piano, it further emphasized her brittle
emotional state, since this followed on her dramatic rubato at “von
meiner Höhle” [“from my cave”]. Her conclusion to the aria left an
impression of her character’s yearning and incompleteness. Immediately after
this piece Zerbinetta and her troupe dominate the stage but their attention is
now focused on sympathy with Ariadne’s plight. Matthew Worth displayed an
appropriate physicality as Harlekin while he sang an exquisite lyrical appeal
to the inattentive Ariadne.
Scene from Ariadne auf Naxos
Of course one of the highlights of the operatic segment of Ariadne auf
Naxos is Zerbinetta’s aria “Großmächtige Prinzessin,” in which the
innermost feelings of the commedia performer answer the question,
“Are we not both women?” Ms. Christy sang the challenging role with
alternating glee and wistfulness: her voice is a comfortable fit for the many
roulades and interpolated decorations. The effect taken on “treulos”
[“faithless”] and trills executed just before “Als ein Gott kam jeder
gegangen” [“Every man approached me like a god”] were a tasteful and
knowing cap on this splendid performance of the aria.
Once the nymphs announce the arrival of Bacchus [“Ein schönes Wunder
(“A beautiful miracle”)], his cries of “Circe” from the distance match
their excitement. From the start of his role Mr. Jovanovich was always on pitch
with notes produced forte when dramatically needed and piano
when expressing his appeals to Ariadne. His cries of “Circe” intensified
without a hint of strain just as he sang diminuendo on “Zauberin”
[“magical being”] when voicing his attraction. The final extended duet
celebrating the love between Ariadne and Bacchus as performed by Wagner and
Jovanovich was sufficiently moving to count as the “schönes Wunder” that
the nymphs had anticipated.