Recently in Performances
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.
19 Apr 2012
Il Sogno di Scipione
It’s unclear whether Mozart composed this highly undramatic “dramatic action” when he was fifteen, for his kindly master Prince-Archbishop von Schrettenbach of Salzburg, or the following year for the newly-elected successor, Prince-Archbishop Colloredo, who, soon afterwards, had the young man literally kicked out of his service.
It is also unclear how much of
Sogno was ever performed in Mozart’s lifetime—very little,
apparently. The piece’s modern revival, possibly world premiere, took place
in 1979 with a cast (recorded) whose luxe is hardly imaginable for such a
project today: Popp, Gruberova, Mathis, Schreier, et al.
Michele Angelini as Scipione
The text is a moralizing serenata by the indefatigable imperial court poet
Metastasio (only his death, after half a century on the job, left the Viennese
post to Lorenzo da Ponte). He drew it from Cicero’s moralizing fable of the
younger Scipio Africanus choosing (in a dream) virtue over pleasure in the fine
old Roman republican manner, thus putting to shame the decadent Romans of
Cicero’s later era when the republic was dying. Metastasio made the choice
between Good Luck (Fortuna) and Self-Discipline (Constanza), and of course
Scipio chooses the latter, though not without Fortuna getting to make her case
pretty well. Sententious sentiment made the libretto ideal for formal
occasions, such as the investment of a new archbishop, but rather a stretch in
the theater. I saw it at the Residenz-Theater in Munich in 1991 (on a
double-bill with Mozart’s Apollo und Hyakinthos); the exquisite
jewel-box theater considerably outshone the music. Neal Goren, of Gotham
Chamber Opera, claims that when he started his company ten years ago, he slyly
told Christopher Alden that there was a Mozart opera that had never been staged
in this country (true) and that it was regarded as unstageable. Alden,
naturally, took this as a challenge. To celebrate ten felicitous years, Gotham
has revived his brilliant opening, which I missed at the time.
Cast of Il Sogno di Scipione
The production’s Regie-theater clichés must, in 2001, have been as
startling to a New York audience as Goren hoped they’d be. They still make
the audience laugh—and remain attentive. The curtain rises in heaven, a bare
bedroom, and Scipio wakes scratchily from a doze to find himself literally
between the sheets between two goddesses, from whom he must choose one. (At
last Friday’s performance, Fortuna has gone to bed with filthy feet. I have
no idea whether this was part of the director’s vision.) Fortuna presents
herself as fickle but fun by doing a reverse striptease, pulling assorted
outfits from a closet and trying them on for us. (Shoes! Tops! Wigs!) Constanza
never sheds her nightdress but she invokes the Music of the Spheres,
impersonated by globular hanging lamps. A chorus of dead heroes appears at the
window in assorted deadbeat garb, echoes from a zombie movie. (Scipio,
terrified, climbs on the wardrobe to escape them.) Scipio’s father (Publio,
an amputee in this version) and grandfather (Emilio, wheelchair-bound and
blind) show up to remind the lad of the glories of public service, in arias
that Mozart cannot have intended to possess the ironic air Alden’s staging
gives them. At last, though spooked, Scipio chooses Constanza (the path of
duty), Fortuna is frustrated, and an Epilogue (Licenza) appears to warble the
best tune of the night, congratulating the audience (in Mozart’s day, the
Archibishop; nowadays, us) for having the taste to admire this sublime
entertainment. Alden’s Licenza demonstrates her enthusiasm by tossing disco
moves into her coloratura ecstasies.
All of this activity and ironic subtext-as-commentary-within-action
undoubtedly gives the score a better chance of being appreciated than it would
ever secure if performed “straight.” Doubt crept in during the more
elaborate vocal displays—the piece was written for vocal display,
illustrating and underlining the meanings of the text, and as the intended
first cast were Salzburg singers, Mozart knew just what they could do. The
young singers performing for Gotham Chamber Opera were all of them more than
qualified to do justice to Mozart, personable, talented actors as well. But
none of the performances was entirely on the mark, coloratura were often
uneven, a little tuneless or imprecise, and it was impossible to suppress the
notion that they’d have sung better if there had been less wriggling about
(or tottering, in the case of amputated Publio, or clambering up the walls of
the armoire in the case of Scipio, or thrash-dancing in the case of Licenza).
It was an occasion of colorful performing but the Mozart-singing suffered for
Susannah Biller as Fortuna, Michele Angelini as Scipione and Marie-Ève Munger as Constanza
The two most interesting voices, the ones that made me eager to hear them
again in less athletic circumstances, belonged to Michele Angelini as dreaming
Scipio and to Maeve Höglund as Licenza. Angelini possesses a baritonal tenor,
an agreeable sound of masculine depth and a happy instinct for phrasing, plus
an easy extension to an agreeable lyric top. One foresees enjoying him as
Idomeneo or Belmonte. Höglund had the most sensuous voice of the bunch, a
soprano with mezzo undertones, luscious and sensuous in a text that lacked
seductive implications but seemed to have them when she put it over. Susannah
Biller’s Fortuna was flashy, sometimes to strident effect. Marie-Ève
Munger’s Costanza was altogether more cozy, but then it can’t be easy to
impersonate something so stolid with any flare. Arthur Espiritu and Chad A.
Johnson were effective as the ghosts of Scipio’s family past. Neal Goren led
a very spirited orchestra and chorus, and nearly two hours passed as
harmoniously as Ptolemy the Astronomer could have demanded.