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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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