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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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