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Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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