Recently in Performances
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.
09 Oct 2012
I Capuleti e i Montecchi in San Francisco
Give me good verses, I’ll give you good music, said Bellini to his librettist Felice Romani. Give me a good director and I’ll give you good opera surely thought San Francisco Opera general director David Gockley.
Not just good opera but great opera took stage at the last night in San Francisco, adding new found artistic luster to the brutal conflicts of the Capulets and the Montagues. The pretended death of Giulietta was exquisitely suffered both by Bellini’s Romeo and his rival Tebaldo, and ultimately emotional pain of monumental musical intensity and ineffable sweetness melted into the tragic release of the love-death. Near legendary mezzo Joyce DiDonato hand in hand with soprano Nicole Cabell walked triumphantly into the beyond.
It was real, this beyond. It was in fact the proscenium frame, at once the Romantic love-death itself and, Mme. DiDonato and Mlle. Cabell left standing in front of the fallen curtain, it was opera. The enraptured audience leaped to its feet and roared.
Giulietta, tragically denied true love (this is pristine Romanticism), had literally climbed the wall. Standing on a sink, the lone symbol of a physical world, balancing herself eerily on one foot, she reached up towards an unattainable suspended image of entwined lovers and floated vocal lines that soared and fell with suspended emotion in what seemed a musical eternity (uhm, this is high, very high Romanticism).
These scenes, the tragic ones, occurred in a space with a mirrored floor negating all sense of physical gravity. There was no reference to defined space save one vertical line that created a sort of metaphysical reality, a line that was always the same and never the same, clothed in an infinity of changing color, the ebb and flow of love. The stage, drawn by French designer Vincent Lemaire and lighted by Italian designer Guido Levi, provided an abstract space for love, may we say, with the Romantics, the most abstract world of them all.
In these scenes director French Vincent Broussard used an almost framed painting, though with vaguely defined, mostly abstract images that suspended the search for specific reference. However in the larger scenes with public meaning he completed the proscenium frame across the bottom of the stage making it the fully formed image of a physical painting. It became a real space with a background of infinitely ascending steps on which brilliantly colored and lighted courtiers spread themselves, and later the elaborately clothed, now disheveled women descended, remnants of the unseen defining battle. Mr. Broussard landed squarely on a descriptively minimalist language that could elevate this simple story to Bellini’s metaphysical world of music.
Nicole Cabell as Giulietta
The most astonishing scene was Giulietta’s passage in her underclothes across the sharp and treacherous lower edge of this worldly frame as she sought to resolve her plight, and did so finally with the help of Lorenzo, the family physician (Felice Romani was far more practical that Shakespeare who complicated matters by appointing a priest to this task). Or was it Romeo’s address to the sleeping Giulietta, now no longer laid out on her wedding dress but frozen upright facing Joyce DiDonato who was fully possessed vocally and physically by Bellini’s music.
There was no separation between the pit and the stage, the changing stage pictures themselves almost seemed the black printed notes of Bellini’s score made into extraordinarily beautiful sounds by Italian conductor Riccardo Frizza and the San Francisco Opera Orchestra. This maestro achieved the exquisitely delicate and felt Romanticism that makes Bellini the epitome of such difficult, elusive and rare operatic art.
It was a nearly phenomenal achievement in bel canto. Like all great opera it was a collaboration of huge forces. The fine Albanian tenor Saimir Pirgu gained vocal security during the evening to viably take on the incomparable Joyce DiDonato in their confrontation. The brilliant Nicole Cabell as Giulietta in her defining long black wig found an unerring vocal balance that did not falter in confronting the extraordinary directorial demands of this role.
Joyce DiDonato as Romeo and Saimir Pirgu as Tebaldo
The high-style costumes designed by famed French couturier Christian Lacroix forcefully etched heightened supernatural character with a sophisticated sense of once-upon-a-time. The actual set became a canvas on which lighting designer Levi detailed mood after mood, choosing momentary detail that rose to the emotional surface in the shadowy supra-rational state of consciousness, never permitting a face or voice to destroy the complex metaphysical tonalities of the production.
It was an enthralling evening at the War Memorial Opera House, the ovations were enormous. And, yes, metteur en scène Vincent Broussard braved exuberant booing at his curtain call. Go figure.
Giulietta: Nicole Cabell; Romeo: Joyce DiDonato; Tebaldo: Saimir Pirgu; Lorenzo: Ao Li; Capellio: Eric Owens. San Francisco Opera Chorus and Orchestra. Conductor: Riccardo Frizza; Stage Director: Vincent Boussard; Set Designer: Vincent Lemaire; Costume Designer: Christian Lacroix; Lighting Designer: Guido Levi. War Memorial Opera House, San Francisco. September 29, 2012