Recently in Performances
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.