Recently in Performances
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.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
27 Oct 2012
Lohengrin in San Francisco
Exquisite pianissimos, sumptuous climaxes, gigantic fortes, insistent horns, sugary winds, tremulous brass, blasting trumpets, whispering strings, pulsating oboes, more gigantic fortes, even more sumptuous climaxes.
Lohengrin like never before. It was an orgy of orchestral colors, an adventure in sonic discovery, the absolute summit of virtuosic orchestral delivery. Maestro Nicola Luisotti attacked and conquered Lohengrin.
There. That’s done. What’s left now that it’s all over?
No longer mythic Germanic lore, this tale seemed to be an episode from, say, Ceausescu’s already mythic Romania, where books were torn from library shelves to burn to make electricity to light the libraries. Though in the emptied library in which all this took magic took place there was not enough juice to illuminate all the grandiose (Romanian socialist moderne) light sources. Well, save in the last scene when Lohengrin finally was going to save the masses. But bowed out.
The masses were magnificent socialists, eighty mighty workers (plus a few sword and standard bearers) who whispered in shimmering sounds and roared in full, transparent tones. But with such idealistic and obviously pleasurable glory in their sonority, and willing unity in their regimentation (yes, this multitude of virtuosic choristers was happily organized in lines and blocks) that they hardly needed to be saved from such perfection — to cede such artistry to mere Western materialism would be tragic indeed.
Meanwhile Icelandic bass Kristinn Sigmundsson in socialist general regalia was instructed to walk downstage center and be the embattled king Heinrich. Mr. Sigmundsson, once an estimable artist, here was perfect as crumbling, ineffective power. Baritone Brian Mulligan, a San Francisco Opera fixture, was Heinrich’s prissy acolyte, a welcomed vocal contrast to his superior. Mr. Mulligan is a richly voiced singer who complemented the maestro’s musical textures while overwhelming the import of this mere herald.
American tenor Brandon Jovanovich was the Lohengrin, a role debut. He apparently has a new voice teacher as the perfectly reasonable tenor we heard a few years ago as Luigi in Il Tabarro has been transformed into a trumpet. While he has not yet mastered the subtlety of tone of a fine trumpeter he does have a surprising variety of volume if not color, though his first and last words in the opera were delivered in a tentative half voice that was cause for concern. Even with its moments of real beauty the sharpness of his tone worked with the costuming of this production to make him look and sound gawky. Though this maybe helped establish the assumed caricatural intent of this conception of Lohengrin.
Brandon Jovanovich as Lohengrin and Camilla Nylund as Elsa von Brabant
Of the five principals the Elsa of Finnish soprano Camilla Nylund realized the most successful character. Elsa herself is a lost soul, and Mlle. Nylund though looking like a well-kept Romanian apparatchik had no idea how to be one. The purity of her voice and the innocence of her presence served her well, though in the bigger moments her voice could not ride the the maestro’s mighty crests, as could, for example, the out-of-scale voice of Mr. Jovanovich.
German bass-baritone Gerd Grochowski seemed over parted as Telramund, diminishing the stature of evil in Wagner’s struggle to overcome baser levels of humanity. Mr. Grochowski’s fine baritone and interesting persona are more at home in roles that are more lyric and perhaps more complex psychologically. He lacks the inherent vocal color and physical force to personify an uncontrolled thirst for power, willing to say or do anything to get it. Reduced to a whimpering wimp in this production there was little for all those arcane powers of the Holy Grail to overcome.
Joining her homeless husband as Ortrud, the bag lady was German mezzo Petra Lang. Mme. Lang did not seem to be in good voice, her final curse thinly delivered, again underlining the opera’s need to endow evil with enough stature to be worth overcoming. As it was the famous pollution of socialist industry managed to create quite atmospheric lighting for Ortrud’s scenes brainwashing Telramund and deceiving Elsa, convincingly delivered by Mme. Lang.
A scene from Act I
The production by British director Daniel Slater and British designer Robert Innes Hopkins is from Geneva (2008) and was already in close-by Houston (2009). It apparently has the intention to remove all magic from Wagner’s tale where swans ferry supernatural knights back and forth from an imaginary mountain. The musical moments for these arrivals and departures are truly momentous, even in ordinary circumstances, but here the workers and apparatchiks stare always forward only to discover and not seem to care that the bus terminal was behind them.
The production could not support the musical values imposed by Mo. Luisotti. Magic, and a lot of it was sorely needed to give place and meaning to this mountain of sound.
Lohengrin: Brandon Jovanovich; Elsa von Brabant: Camilla Nylund; Ortrud: Petra Lang; Friedrich von Telramund: Gerd Grochowski; Heinrich der Vogler: Kristinn Sigmundsson; King’s Herald: Brian Mulligan. San Francisco Opera Chorus and Orchestra. Conductor: Nicola Luisotti; Stage Director: Daniel Slater; Production Designer: Robert Innes Hopkins; Lighting Designer: Simon Mills. War Memorial Opera House, October 24, 2012.