Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
02 Feb 2012
Mozart’s Die Zauberflöte at Lyric Opera of Chicago
Lyric Opera of Chicago’s recent revival of Mozart’s Die Zauberflöte offered a production with vocal pairs carefully matched and dramatic representation expressing the varying shades of Mozart’s score.
Tamino and Pamina, the pair who must undergo separately tests of purification,
were sung by Charles Castronovo (debut) and Nicole Cabell. The Queen of the
Night, mother of Pamina, featured Audrey Luna (debut) and Evan Boyer assumed
the role of Sarastro, since Günter Groissböck was announced as indisposed for
the performance reviewed. Stéphane Degout (debut) and Jennifer Jakob were a
musical and dramatic delight as Papageno and Papagena. Sir Andrew Davis
conducted with attention to nuance while maintaining always a sense of the
whole. During the overture Davis encouraged a terse interplay among the strings
with a measured drive forward. Pauses were effective at transitional moments
just as shifting tempos were integrated to give significant shaping to the
The three ladies of the Queen of the Night acted and sang as a splendid
trio. Once Tamino’s calls for help prompt their arrival and slaughter of the
serpent pursuing him, the ladies moved in unison yet each doted individually
over the unconscious hero. Elisabeth Meister as the First Lady led the ensemble
with her focused soprano binding the vocal line as she encouraged a report to
the Queen of the Night. Cecelia Hall and Katherine Lerner were equally
entertaining in their attempts to remain vocally and physically in the presence
of Tamino. When the latter awakens, he is met of course by Papageno who accepts
credit for having delivered the hero from danger. In his introductory aria,
“Der Vogelfänger bin ich ja” [“I am indeed the birdcatcher”], and
ensuing dialogue Stéphane Degout combined a lyrical confidence with delightful
swagger in acknowledging the unfounded recognition. As his discussion with
Tamino is interrupted and punished, when the three ladies returned, Degout’s
Papageno displayed his protests with convincing pantomime. In control of the
stage once again, the three ladies present Tamino with a portrait of Pamina. In
reacting to the portrait Castronovo’s performance of “Dies Bildnis ist
bezaubernd schön” [“This portrait is magically beautiful”] displays
lyrical heft and beauty of tone while some of the louder pitches could be
rounded or softened to express the magical attraction. The entrance of the
Queen of the Night and her first bravura aria provided Ms. Luna with
opportunities to show her vocal facility [“O zittre nicht, mein lieber
Sohn” (“O do not tremble, my dear son!”)]. Luna’s dramatic high notes
on “Ach helft!” [“Oh help!”] were especially effective, these being
followed by practiced runs in the famous coloratura passages. After
Tamino and Papageno receive their magical instruments, flute and glockenspiel,
from the ladies, they are instructed to follow the lead of the three
Knaben [“youths”] to find the path to Pamina and rescue her from
the palace of Sarastro.
Nicole Cabell as Pamina
At the first appearance of Pamina under the guard of Monostratos, Nicole
Cabell projected a noble demeanor on lines such as “Der Tod macht mich nicht
beben” [“Death does not make me quake”]. In the ensuing duet with
Papageno, “Bei Männern welche Liebe fühlen” [“For men who truly sense
love”], Ms. Cabell sang expressive, arching lines while Degout truly came
into his own with a superbly resonant tone and appropriate legato. In
the following scene Tamino searches for the entrance to Sarastro’s palace, in
order to confront the alleged captor, just as Papageno leads Pamina in search
of the flute’s response. Ms. Cabell’s encouragement to speak only the truth
(“die Wahrheit”) rang out in pure high tones in preparation for the
entrance of Sarastro. Mr. Boyer’s assumption of this role communicates the
requisite weight of authority, and his distinctive and well developed low
register contributes to a seamless vocal technique. His dramatic approach might
be enhanced at this point in the action in order to signal the gravity of the
Preparatory ceremony and eighteenth-century dress are emphasized in this
production at the start of Act Two as both Pamina and Tamino are given
instruction toward their trials of purification. Mr. Boyer’s Sarastro and the
chorus assumed here solemn tones in keeping with the following ritual scenes.
The interplay of power between the Queen and Sarastro focuses now on Pamina.
Ms. Luna projected accelerating coloratura intensity in her aria
“Der Hölle Rache” [“The wrath of Hell”] as she encouraged her daughter
to kill Sarastro. Mr. Boyer’s subsequent rendition of “In diesen heil’gen
Hallen” [“In these hallowed halls”] displayed excellent breath control
with rounded bass emphasis fully audible. The final two highlights of this act
belonged indeed to Ms. Cabell and Mr. Degout. Pamina’s “Ach, ich
fühl’s” [“O, I feel it”] in response to Tamino’s enforced silence
was performed with emotional commitment, skillful diminuendo, and further vocal
decorations emphasizing the heroine’s plight. In Papageno’s “Ein Mädchen
oder Weibchen” [“A maiden or a wife”] Degout acted and sang with genuine
ardor, while he climbed onto the stage following his search through the aisles
of the audience. In this scene Degout captured the essence of both the
character and the music as he embellished his yearning lines with tasteful
appoggiatura. In keeping with this performance Papagena was a fitting
Scene from The Magic Flute