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.
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.