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On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
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