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On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
05 Aug 2012
Glyndebourne : Ravel Double Bill L'enfant et les sortilèges, L'heure espagnole
Surrealist fantasy with wit and style! L'heure espagnole and L'enfant et les sortilèges, the Ravel Double Bill at Glyndebourne, mixes charm, intelligence and nightmare.
The audience applauded the scenery, but this time the praise was sincere. Ravel's music and ideas come alive. I'm tempted to say, "beyond our wildest dreams", because dreams release the creative imagination. Ravel begins L'enfant et les sortilèges with strange mock-orientalism, to emphasize the alien nature of what is to come. The child (Khatouna Gadelia) throws a tantrum, reflected in the stamping ostinato in the music, and the repetitive, angular vocal line. "Méchant! Méchant! Méchant!". Table, chair and Maman's skirts loom menacingly, overwhelming the child. This is what it feels to be little, dwarfed by the world of adults. The child rebels and rips his room apart. But the objects he wrecks have feelings, too.
"L'enfant et les sortilèges" says director Laurent Pelly "lasts about 45 minutes, but has the depth of an opera of three or four hours". (read the interview in Opera Today here). Ravel's music is extraordinarliy vivid, but his concepts don't easily translate into visual images. Pelly, however, is a master at bringing abstract ideas to life, as anyone who has seen his Glyndebourne Humperdinck Hansel und Gretel would know. The Teapot and the Chinese cup dance, their "human" bodies exposed beneath the hard exteriors of their form. Ravel glories in mad chinoiserie, which conductor Kazushi Ono plays up with manic relish. The words aren't real but dadaist invention, even in Colette's original. At Glyndebourne the surtitles flash "Sessue Hayakawa" .Since this Glyndebourne production is a co-production with Seiji Osawa's Saito Kinen Festival, it will be seen by Japanese audiences who will get the joke (and can read the nonsense "Chinese" writing). Hayakawa was a Hollywood megastar from the 1920's, who subtly subverted western stereotypes of Asian people. Ravel is sending up the whole notion of western attitudes to the East.
And by exploring exotic genres, Ravel expanded the palette of mainstream western music. Even in Colette's original French text,the Teapot and teacup sing in cod-English "Sir, I punch your nose. I knock out you, stupid chose (thing)". Shepherds and Shepherdesses jump out of the wallpaper the Child has defaced, singing of bizarrely coloured dogs and lambs. Everything safe and familiar is transformed. Ravel writes mock-pastoral,while the pastorals do a solemn mock baroque dance. Visions of Le petit Trianon! Revolution is afoot. The Fire explodes, threatening to engulf the room. Kathleen Kim shoots out of the fireplace in a structure that resembles flame. Kim also sings the Nightingale and the Princess. As theatre, the Fire is a dramatic stunning device, but also reminds us this Child has unleashed dangerous forces.
Some of Ravel's concepts are so abstract that they're a test of any director. Arithmetic, for example, which is so important to Ravel that he embeds the formal logic of mathematics into his music (The connection with L'heure espagnole is obvious) In the 1987 Glyndebourne production, the The Little Old Man who represents Arithmetic was surrounded by cardboard cut-outs of numbers. Pelly, however, brings out the true inner significance. The Child has rebelled against maths homework, and now the Glyndebourne chorus appears as identikit Child to mock him. The formality of rows and series - is this a droll in-joke about Ravel's music, and the music which followed? Kazushi Ono defines the structure with clarity, and the chorus moves with precision. Surrealism liberates the imagination, but art needs an element of intellectual rigour,
Sofas, chairs and clocks, Cats, animals and insects, all confront the Child with their human-ness. In the Garden, adult values no longer dominate. Here, the Child will learn the true nature of humanity Pelly, who designed the costumes, doesn't trivialise the "animals" but shows them as realistically as is possible (given that Bats and Squirrels don't sing). So different from the twee "animals" in Melly Still's The Cunning Little Vixen (review here). Here, animals are treated with dignity, for that's the message of the opera, that no-one is supreme in this universe.The Glyndebourne chorus transform into trees, each one individualized. Even "statues" move. The darkness now is less nightmare than transformative dream. At last the Child recognizes that selfishness is cruel. He caged and tortured the Squirrel, but now looks into her eyes and sees things throgh her perspective. The Squirrel was sung by Stéphanie d'Oustrac, who also sings the Cat. At last, the Child can be a child again and call "Maman! up towards the lighted window. Laurent Pelly's L'enfant et les sortilèges is a masterwork of emotional intelligence and sensitivity, absolutely informed by Ravel's music.
Stéphanie d'Oustrac also sang the main role of Concepción in L'heure espagnole. Elliot Madore sang Ramiro the Muleteer who carries clocks around so effortlessly that he becomes a Grandfather Clock in L'enfant et les sortilèges (where he also sings the Tom Cat). This constant role-changing might stress singers, but is very much part of the meaning of both operas, so they all performed well. Torquemada the clockmaker thinks life can be regulated by clockwork, but as his wife discovers, things don't always go as planned. François Piolino sang Torquemada, and also the Teapot, the Frog and the Old Man of Arithmetic). The staging of L'heure espagnole seems relatively dated compared with the sheer genius of Pelly's L'enfant et les sortilèges, but its clutter also suggests why we need clocks (and Arithmetic, and indeed of the mechanisms of the world around us).
This production will be screened from 19th August in cinemas and online, and will eventually be released on DVD.