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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
02 Aug 2012
Santa Fe Opera, Karol Szymanowski : King Roger
The gifted Polish composer Karol Szymanowski wrote his three-act King Roger, in the 1920's. It is an allegorical tale of honor vs. pleasure set to quite beautiful music, especially in the orchestral writing, which Santa Fe chose to play in the same season as the Rossini in a wide tip of the hat to unknown but worthy repertory.
While King Roger is rarely heard, I happen to have experienced it in 1980 when the St. Louis Symphony presented two performances in concert form under the direction of Leonard Slatkin, who was an advocate for Szymanowski’s music. It made very little impression at that time, but heightened my appreciation of the Santa Fe production, whose theatrical qualities much enhanced the somewhat tepid tale of the Sicilian king, if one set within an unusually rich musical tapestry. A colorful and dramatic production of a static opera can make the effort seem worthwhile, and King Roger’s treatment by Santa Fe could hardly have been more beneficial. (Santa Fe played the opera in one 90-minute act that enhanced continuity.)
First of all the music: Wide swathes of Debussy-influenced tone painting abound, forming an impressionistic atmosphere, often punctuated and disputed by sharp polytonal accents and chromatic arguments in the full orchestra, illustrating Roger’s unhappy moods. The King is torn between his conventional church-approved duties as Monarch, versus the upsetting proposals of a charismatic Shepherd that appeared from nowhere, and much beguiled not only Roger’s subjects but also his wife, Roxana, with tempting ideas about sensual and erotic pleasures. Roger himself is tempted but also dismayed by the Shepherd whose call he hears all too well. In the end the King restores order, at least in his own mind, and assumes the royal robes of convention, but not without having been marked by life’s Dionysian distractions. With lots of talk, lots of posturing and agonizing and a rather ho-hum plot, King Roger is saved by the elegant and original music emanating from the orchestra. The vocal writing is mainly declamatory or conversational, with few if any memorable set pieces, aside from Roxanna’s song, a haunting vocalise that accompanies her fall to Dionysius.
Special appreciation must go to Evan Rogister, the young American conductor, who was a leading hand in making the show work. The singers were all competent, and sometimes more than that, but it is an ensemble opera without the need for star turns. As the King, young Polish lyric baritone Mariusz Kwiecien was authoritative and convincing, perhaps more in the King’s suffering than otherwise, but his is a lyric voice, so fine in Mozart, sometimes taxed in Szymanowski’s bigger moments. His Roxana was handsomely sung by the soprano Erin Morley who brought silvery beauty to her aria. The Shepherd is a hard role to cast and no doubt a difficult one to perform, but ingratiating tenor William Burden rose to the occasion, even if sometimes his top tones turned a bit pale and hard to hear. Raymond Aceto lent his distinguished baritone voice to the role of the Archbishop, with Dennis Peterson and Laura Wilde serving well in secondary parts.
The effectively played stage action was conceived by highly regarded director Stephen Wadsworth whose ideas were strong and clarifying, and were assisted by the ingenious if spare set designs of Thomas Lynch. The unusually fine costumes were by Ann Hould-Ward. Her designs, detailed and impressive, especially in Act I, immediately established a feeling of style and quality that set the right tone and engaged the viewer; strong input by Ms Hould-Ward who first worked at Santa Fe in 1992. I must particularly acknowledge the accomplishment of chorus master Susanne Sheston, whose Santa Fe Opera apprentice singers, augmented by twenty-four professional voices from the Santa Fe Desert Chorale, gave a superior account of Szymanowski’s sumptuous choral writing, one of the most noteworthy beauties of the score. I hope to meet King Roger again some day. His is an enchanting and musically rewarding illusion.
© J.A. Van Sant, 2012