Recently in Performances
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.
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
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.