Recently in Performances
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.
05 Oct 2012
Cecilia Bartoli Comes, Divides and Conquers
Cleopatra, one of few female seductresses in operatic history to emerge not only alive but empowered in the final act, is a fitting role for Cecilia Bartoli in her first season as artistic director of the Salzburg Whitsun Festival.
She has assembled a dynamite new production of Handel’s
Giulio Cesare in Egitto, which premiered in May and returned to the
Summer Festival, with the early music ensemble Il Giardino Armonico
under the Italian singer’s old friend Giovanni Antonini alongside a
handpicked cast and the French-Dutch directing team Moshe Leiser/Patrice
Caurier. The opera, which premiered at the King’s Theater in 1724, was
one of Handel’s most popular in its time and still stands out from his
other operas for its stylistic variety and gripping drama. A libretto by Nicola
Francesco Haym adapts the story of Caesar’s amorous and political
alliance with Cleopatra after his arrival in Egypt in 48-47 BC but changes
historical details freely. He also packs in a high concentration of da capo
arias in keeping with the taste of Londoners in the 18th century.
Handel’s writing for Cleopatra includes some of his most beloved
numbers, and Bartoli meets expectations in this production (seen at the Haus
für Mozart on August 27) with natural charisma and authority. Although her
giggling first entrance bordered on kitsch in Leiser and Caurier’s bold
vision of a modern-day Egypt occupied by the European Union, she managed to
pull off their tongue-in-cheek direction as she pranced onstage in a leopard
jacked and boots during her first aria “Non disperar, chi sa?,”
playing with her unrivalled technique to manipulate coloratura passages for
clear dramatic purpose. This ability made itself most apparent in the firework
runs and carefully timed turns of “Dal Tempesta,” sung under an oil
tower as the future pharaoh resolved her energy anew in the third act. Bartoli
amused without affectation as a disguised servant, teasing the blue-suited
bureaucrat, Caesar (Andreas Scholl) after her aria “V’adoro,
pupille” in which takes off on a missile. Her slow aria “Piangero
la sorte mia,” which she sings in captivity by her ruthless brother,
Ptolomeo (Christoph Dumaux), brimmed with devastated emotion as she spun out
silver threads of coloratura
Scholl, who sings as many arias as his female counterpart, impressed equally
with the clear timbre and refined phrasing of countertenor as well as his
caricature-like dramatic portrayal of the role. “Dall’ondoso
periglio,” in which the Roman emperor prays to God to be reunited with
the woman for whom he has grown so much affection, featured pearly cascades and
pianissimi that floated sumptuously to the back of the theatre. The singing of
acclaimed mezzo Anne Sofie von Otter was a model of legato and inner expression
as Cornelia, the widow of Pompeo whom Ptolomeo has beheaded. Her chemistry with
the rising star Philippe Jaroussky in the role of Cornelia’s son, Sestus,
who slays the Egyptian pharaoh in revenge, was as touching as the musical
polish they both brought to every moment onstage. Jarsoussky revealed
impeccable taste in the ornamentation of the da capo to his aria “Cara
speme, questo core.”
The voice of Dumaux was slightly less penetrating, but he gave a powerful
account of his aria “Domero la tua fierezza” in which he declares
that he will curb Cleopatra’s pride, his rival for the throne. He also
executed some very athletic moves in his vindictive aria “Si, spietata,
il tu rigore.” The baritone Ruben Drole was a strong-voiced Achilles,
Ptolomeo’s advisor, and the alto Jochen Kowalski brought comic flair to
the role of Nirena, Cleopatra’s maid. Peter Kalman made for a valiant
Curio, Caesar’s tribune. The idiomatic articulation and richly nuanced
performance of Il Giardino Armonico nearly asserted the ensemble as a
character in its right. Antonini maintains a strong bass that nevertheless
allows every instrument to sing. The musicians cried with Bartoli in her
pleading aria “Se pieta di me non senti.”
Leiser and Caurier also deserve much credit for a staging that ingeniously
updates the mix of comedy and tragedy in Handel’s opera, casting a
critical eye toward modern European politics while allowing the singers to
indulge in just the right amount of slapstick. I found myself laughing with the
production rather than at it even through the most gregarious of gestures, when
as when Caesar is given a pair of 3D glasses during the prelude to
“V’adoro, pupille,” casting Cleopatra’s appearance as a
scene within a scene. The burning tires, Christmas-lit oil tower, and final
scene of a tank rolling onto the recreation of a cobblestoned street in
Salzburg (sets by Christian Fenouillat) made for a biting but riotously amusing
commentary on the current state of affairs. Even the dancing soldiers
(choreography by Beate Vollack), whose classical moves contrasted paradoxically
with their rifles, were perfectly in place. Costumes by Agostino Cavalca
reflected the imaginative scope of the directors, with corn rows for Ptolomeo
and a series of sexy costumes for Cleopatra in which the Intendantin still
managed to preserve her class.
Click here for cast and production information.