Recently in Performances
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
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Bernard Haitink’s monumental Bruckner and Mahler performances with
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His legendary performance of Bruckner’s Symphony No. 8 in
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‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
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On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
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Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
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When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
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A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
26 Apr 2012
Manon Lescaut, Philadelphia
It is Manon month in the Mid-Atlantic states. In New York, the Met is presenting Massanet’s take, while Opera Company of Philadelphia has just opened Puccini’s version: his first successful opera, Manon Lescaut.
The latter is a tribute to the company management, which programmed a work not
heard in Philadelphia for decades in lieu of yet another Bohème,
Tosca or Butterfly, and then overcame adversity to craft an
Opera Philadelphia often benefits from the remarkable number of fine singers
trained in local conservatories—but rarely as much as in this production.
When the scheduled soprano (Ermonela Jaho) cancelled less than a month ago,
Texas-born Michelle Johnston, a 29-year old in her final year at AVA, stepped
in, learned the role from scratch, and sang it with distinction. A grand
finalist in last year’s Met national auditions, Johnston is a well-schooled
singer with the most of the resources to tackle the singular challenge of
Manon, whose evolution from youthful innocence through giddy greed to death in
disgrace is mirrored by a vocal transformation from lyric to
coloratura to spinto soprano. She was most impressive in
slimming down her voice for the Act II minuet scene, complete with a (quasi-)
trill. Given her youth and the rushed conditions of her premiere, it is perhaps
inevitable that, earlier and later, Johnston sometimes seemed a bit cautious.
Later in the run, she will perhaps cut loose more at the big emotional moments,
such as the aria, “Sola, Perduta, Abbandonata.” Overall, however, this was
a smart and sensitive performance by a young singer to watch.
Thiago Arancam is a 32-year old Brazilian lirico spinto tenor who
started singing late and has been trained largely in Milan. He is a sexy guy on
stage, with a voice both pleasant and intriguing, mostly due to its unusually
dark color—a quality often thought to signal grand heroic potential. For the
moment, he sings smoothly and in tune, if uniformly at forte. Yet the
sound in the middle and lower parts of the voice lacks the mixture of warm
timbre and clear ring Italian tenors prize, and sometimes fades out
suddenly—a quality that suggests the tone is being forced. Even at best, the
result, some robust high notes aside, his agreeable approach skims over
subtleties in the character of the Chevalier des Grieux: his flirtatious
serenade, sweet reflection on falling in love, and the gut-wrenching "No! No!,
Pazzo son" all sounded vaguely similar. Perhaps Arancam—scheduled to sing
this role in Dresden under Christian Thielemann in a year—will yet realize
Thiago Arancam as Des Grieux and Michelle Johnson as Manon Lescaut
Two character baritones supported the cast well. Daniel Mobbs continued his
strong work for Philadelphia, seeming to inhabit to the character of Manon’s
rich seducer and patron Geronte de Ravoir. Troy Cook was strong if a bit uneven
as her brother. Cody Austin sang brightly as the student Edmondo, John Viscardi
pranced menacingly as the Dancing Master, and John David Miles’s robust tones
came out of nowhere as the Sergeant.
The production was vintage Philadelphia: realistic, colorful, and
cost-effective without probing even the (relatively shallow) depths of
Manon Lescaut’s libretto-by-committee. Still, it offered one
interesting idea, namely a (mechanically-challenged) drop with projected
paraphrases from of the literary text from which the story originates.
Music director Corrado Rovaris was largely in his element in this
fast-moving score, with the orchestra responding brilliantly—better than I
have ever hesrd them—in moments such as the police raid at the end of Act II.
To be sure, one might have liked to hear Rovaris encourage the young cast to
linger at other critical moments, but rubato is not his thing.
Scene from Manon Lescaut
Given the success of this production, perhaps Philadelphia will now dare to
extend its successful string of operas by 20th-century master Hans Werner Henze
to include his unjustly neglected adaptation of the Manon tale, Boulevard