Recently in Performances
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
28 Aug 2012
La bohème at the Salzburg Festival
It is difficult to speak with excessive enthusiasm of the programming of a Salzburg Festival that included both Carmen and La bohème, though it would subsequently be redeemed in part by a staging of Die Soldaten.
That said, La bohème proved more successful in almost every way than the relatively disappointing Carmen seen earlier in the week.
Above all, this was a triumph — perhaps predictable, but none the less worth of mention for that — for Daniele Gatti and the Vienna Philharmonic. This was the first time during this year’s Festival in which I had heard the VPO on top form — though it would not be the last. The comparison may be odious but it made me realise quite what had been missing in the Welsh National Opera performance I had heard in June. Wagnerisms abound, of course, but it takes a great conductor truly to relish them like this and to transmute them into something quite personal to Puccini. Harmony and orchestration are really what is most interesting about the composer’s work, however naggingly memorable some of his melodies might be. Gatti presided over an orchestral performance comparable to his Salzburg Elektra a couple of years ago, the sheer depth of tone resounding throughout the Grosses Festspielhaus as impressive as the shimmering, translucent beauties of Puccini’s more modernistic passages. Pacing was irreproachable, permitting the story and, most important, the score to unfold as they would, rather than imposing an irrelevant external framework upon them; unity was thereby enhanced rather than detracted from.
The cast was first-rate too. Piotr Beczala has often sounded too Italianate, indeed too Puccini-like, in much of the repertoire in which I have heard him; this is clearly where he is most at home. The odd moment at which I thought less might have been more aside, there was nothing for which to reproach him here and much to laud. If ultimately Rodolfo is hardly the most interesting of roles, Beczala did what he could with it, dynamic range and shading especially noteworthy. Likewise, unsurprisingly, for Anna Netrebko’s Mimi, a star turn if ever there were one. Netrebko truly inhabited the role, both more generally and with particular reference to Damiano Michieletto’s production too. Many of the more celebrated opera singers in this repertoire might have disdained a production that failed vulgarly to flatter them ; Netrebko relished the contemporary setting and the emphasis upon Mimi as disadvantaged. Her voice was in excellent repair, soaring gloriously above the equally glorious orchestra. I had not come across Nino Machaidze before, but her sexy, intelligent Musetta made me hope that I shall do so again soon. Massimo Cavalletti’s Marcello put not a foot wrong; nor indeed did any member of the ‘supporting’ cast. Choral singing was of the highest standard throughout — an often overlooked aspect, crucial to a successful performance of this opera.
Nino Machaidze as Musetta, Massimo Cavalletti as Marcello, Marcello Giordani as Rodolfo, Alessio Arduini as Schaunard and Carlo Colombara as Colline
In a sense, there was nothing especially radical about Michieletto’s production, though given what most houses present for La bohème, one could say that even the very fact of moving the action to the twenty-first century shows a thirst for adventure. (In this of all operas, there is surely an imperative, albeit incessantly flouted, to rid a staging of every last ounce of sentimentality.) Costumes alone, designed with flair by Carla Teti, would doubtless have had self-appointed ‘traditionalists’ spluttering: a good in itself, though hardly enough. Designs were splendid: spectacular in a good rather than vulgar-Zeffirelli sense. The Paris street and metro map that unfolded from time to time was really rather fun. Act Three’s sense of an urban, frozen wasteland, replete with obligatory burger van, was chilling, in more than one sense. Yet the production had subtler virtues too, foremost amongst which should be accounted the space it permitted one to question the work and assumptions one might hold about it. Whilst I cannot (yet?) bring myself quite to accept the metatheatrical claims made for the opera by some, however much more interesting they might make it, there was to be discovered here, even if this were not the director’s intention, an indictment of the selfishness of youth. Where Michieletto spoke of celebration, it was equally possible, and indeed in my case more so, to recognise from experience the shallow posing and disingenuousness of student-style declarations of love, purpose, and principle. Mimi became a more interesting victim, or perhaps better, the circumstances that brought about her fate became sharpened, without turning the opera into something that it was not. I wonder how this will be received in Shanghai, with whose Grand Theatre this is a co-production.