Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.