Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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