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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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
06 Feb 2012
L’Enfant et les Sortilèges and La Navarraise in Monte-Carlo
The magic was in the pit, not that all Monaco was not magical — on January 25 a yellow Lamborghini, a red Ferrari, a vintage Jaguar among other magnificent machines stood before the entrance to Monte-Carlo’s resplendent Casino cum transplendent 500-seat opera house.
Even without this automotive hardware Monaco may still have been magical eighty-seven years ago when Maurice Ravel and Colette conjured a strange little comédie musicale, L’Enfant et les Sortileges for this very opera house. These days Colette’s singing cats, clocks, teakettles, etc., only sometimes recapture the magic that is said have surprised, puzzled and perturbed the monégasques (those rich enough to sojourn in Monaco) back in 1925.
Happily all of L’Enfant’s reputed magic was again present in the Salle Garnier, brought alive by Monaco’s fine Orchestre Philharmonique responding to the remarkable precision of narrative detail and intonation imposed by conductor Patrick Davin. Ravel’s score shone as the masterpiece of orchestral colors and musical wit that has won it huge respect and exposure in musical circles.
If you are among those who find people impersonating animals, objects or elements (there is a big piece for a soprano named “fire”) amusing this fine new production by the Opéra de Monte-Carlo’s general director Jean-Louis Grinda might have disappointed you. As it was we were not required to suspend disbelief for a second. It was the household staff of Mamam (the quite imposing Béatrice Uria-Monzon in full Coco Chanel regalia) who went to a great deal of trouble to terrorize Mamam’s little darling while Mamam went out for the evening.
This alone made the entertainment adult and saved us from having to rediscover the-child-that-is-in-all-of-us. In fact it was a pleasure to get back at the naughty little brat (convincingly portrayed by Swiss mezzo Carine Séchaye) by dreaming up mean and clever tricks. Cats were made by shadow puppetry and sung by their puppeteers, three household staff (very fine dancers) executed nifty slimy choreography (by Eugénie Andrin) that kept the torture relentless. The household maitre d’ actually appeared in the clock and the governess climbed atop the armoire to sing the Princess’ lament.
This realistic staging revealed the charm of this little story by the famously unconventional Colette and let us hear Ravel’s brilliant score with the eyes and ears of adults of presumed intelligence and wit. These attributes are in fact the magic of Colette and Ravel’s amusing trifle, not its fantastical characters. These were forty-five riveting minutes.
The French speaking audience (where were the Italians and the Russians?), obviously mature and certainly well-healed paid 15 euros per flûte de champagne at intermission where they were far more animated than at the perfunctory applause awarded the entertainment.
L’Enfant et les Sortileges is a chamber work of childish sentiment detailed by a very large orchestra. It is of ideal proportion to the Salle Garnier. Its companion piece, Massenet’s La Navarraise is an emotional blockbuster that was sonically stuffed into this intimate theater where it suffered a dismal production.
This brief piece attempts to impose the emotional force of Italian verismo onto French sentiments familiar to us through Alexander Dumas fils’ La Dame aux Camélias and Mérimée’s Carmen. The big blow, that hallmark of pristine verismo, was the gypsy girl’s suicide over the corpse of her lover. This final moment was very noisily presaged in the opening battle scene and by the challenge of her lover’s father that she match his dowry. She was then accused of treason, the tenor sang a great big aria and there was an even bigger battle scene.
Scene from L’Enfant et les Sortilèges
It would be hard for anyone to remain aloof from all this violence and maestro Davin certainly was not. He urged his orchestra to sing out full voice, and encouraged his singers to give everything they had. And they all did. We understood why this piece was once popular and no longer is. It is too loud and too short, a blatant and naive imitation of Cavalleria Rusticana by a capable composer who knew what the London public wanted back in 1895.
The Opéra de Monte-Carlo did Masennet’s little escapade full justice with French mezzo Béatrice Uria-Monzon, a famous Carmen who has essayed Tosca as well, as the Navarraise — a more ideal singer for this heroine of a verismo manqué cannot be imagined. Spanish tenor Enrique Ferrer was Araquil, her lover, negotiating the role’s high tessitura at continuous forte levels with apparent ease, adding the easy swashbuckle that cost him his life. Canadian baritone Jean-Françoise Lapointe was a dynamic lieutenant of beautiful voice, however baritone Marcel Vanaud as the father Remigio did not rise to sufficient vocal or histrionic stature to have motivated such a tragedy. Earlier in the evening Mr. Vanaud had portrayed a fine chair and a successful tree.
Scene from La Navarraise