Recently in Performances
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
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