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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
28 Sep 2012
Marriage of Figaro at the BBC Proms
Glyndebourne Festival Opera’s visit to the Proms has become a much anticipated annual event. This year on 28 August, they brought Michael Grandage’s new production of Mozart’s The Marriage of Figaro, with the Orchestra of the Age of Enlightenment conducted by Robin Ticciati, who takes over as musical director at Glyndebourne in 2014.
In Michael Grandage’s original production at Glyndebourne, there was a raised acting area behind the orchestra, with cast and chorus sitting in semi darkness behind this, whilst not performing. In theis BBC Proms performance (Prom 60), there was no set as such, just rudimentary door frames for entrances and exits.
There were no surprises about the version we heard, the traditional secondary arias were cut to ensure that the drama flowed. And flow it did. The dramatic and farcical elements move The opera was given in an abbreviated staging by Ian Rutherford based on efficiently and swiftly. Humorously too of course, though the boisterousness in act two got dangerously close to real farce. It was part of the way through act two that I thought, who are these people? And basically, the production didn’t really tell me.
Grandage and his designer Christopher Oram had move the action to the 1960’s. Oram’s costumes were all pitch-perfect with velvet suits, liberty print shirts, floaty dresses complete with awful period hairstyles. But this period does not necessarily give a secure dramatic basis for the piece, in fact by rather smudging the hierarchical relationships Grandage rather reduced the drama. In an era of free-love, the relationship of the Count (Audun Iversen) with Figaro (Vito Priante) and Susanna (Lydia Teuscher) was just too friendly. We need to believe that the count almost has the power of life and death over his servants. Without this, he is reduced to a hypocrite in a Whitehall farce.
Perhaps the situation could have been remedied by distinctive, strongly characterised individual performances. But Glyndebourne had assembled a young, enthusiastic cast who work well as an ensemble, conveying Grandage’s intentions, but failed to establish a personal stamp on the characters.
Audun Iversen as the count was personable and promising, but I defy anyone to be imperious when wearing a wig like that and a wine coloured velvet suit. Nor did he exude a particular sexual magnetism, which is surely a necessity. Iversen’s count seemed just too nice, there wasn’t the element of steel in the portrayal, the feeling that he has real power in his fief-dom and enjoys it.
Iversen was, I think, a little too matey with Vito Priante’s Figaro. Priante sang the role well enough but any hint at being revolutionary or subversive was rather nullified by the period. The Marriage of Figaro needs to be a dangerous piece, with real characters trapped in power relationships.
Sally Matthews as the countess was a Celia Birtwell sort of figure, elegant and slightly melancholy. She sang beautifully, "Dove Sono" was ravishing, but did not quite mine the vein of heartbreak at the aria’s heart. This was also noticeable at the end of the opera where the countess’s forgiveness of the count was lovely, but not yet heart-stopping.