Recently in Performances
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
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.