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This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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