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.
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.