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Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
04 Oct 2012
Martinů : Julietta, ENO
The ENO gave the British premiere of Bohuslav Martinů's Julietta many years ago, so this new production was eagerly awaited. But what will audiences new to Martinů get from this production? It's a myth that the English language makes opera more accessible. That just means audiences focus on words, rather than really listening or understanding.
Martinů's Julietta is a highly conceptual opera, with deliberate ambiguities and mind games. Just as in dreams, there are clues and contradictions. If ever there was an opera where listeners had to keep alert and pay attention, this is it. The opera predicates on dream states, but sleepwalking through Martinů's Julietta isn't wise.
The production dates from 2002 when it was first seen in Paris. The Overture opens to images of sleeping figures floating in space (or amniotic fluid). One figure emerges, Michel Lepic (Peter Hoare), bookseller by day, dreamer by night. The main set is a giant mock up of an accordion, which also serves to suggest the walls of a house from whose windows various characters appear at critcial points in the opera. Musically, this is perceptive, for Martinů writes an evocative solo for accordion into the first act, and the mechanics of the instrument suggest "lungs" or breathing. Accordions also evoke folk music, and thus memories of the past. A horn player walks round, his music evoking other, more sophisticated memories, offereing hope to those who have lost the past.
In this strange dream village, no-one can remember anything of the past. Nothing connects. If this is a landlocked European village, why is there a ship? Where do the Old Arab (Gwynne Howell) and Young Arab (Emilie Renard) fit in? The implication is that without memory, we're eternally adrift. It is significant that Martinů returned to Julietta at the end of his life, after decades of wandering through Europe and the United States.This gives the opera emotional depth, and is important to interpretation. As a musician, Martinů was sensitive to the power of music, where small snippets awake vast rivers of memory, so the many references to other music are deliberate. Even if some are barely more than wisps, their embedded presence is part of the meaning.
The giant accordion turns and moves, but within the orchestra Martinů writes fragments for solo instruments or small units like 3 oboes. The vast world theatre, and the tiny individual. This theme runs through the opera on several levels. Michel is alone in the busy village, and in the Central Office of Dreams he can't beat the bureaucratic machine. In the last act, the Accorion turns over so it resembles a giant, hideous skull, its keys reesembling the keys of a piano, the working tool of most composers.
Apart from Michel himself, the characters appear in different forms, and the Three Gentlemen in Frock Coats (as described in the score) sing in unison. Even Julietta (Julia Sporsén) is illusory, and needs to create an articial past through the postcards the Seller of Memories (Andrew Shore) peddles to the unwary. Gradually Michel is drawn deeper into delusion. Who shoots Julietta? Did she, can she die? It doesn't matter. People in this cosmos have no attention span. But as an audience, we do, which is why small details count, however elusive.
Anarchic as dreams are, performance should be rigorous. Martinů writes lusciously lyrical figures which seduce the ear, magically. But the Third Act tells us quite categorically that one cannot escape into the luxury of reverie. Beneath this lovely score lies a bedrock of anxiety. Is Michel all that different from the other inhabitants of this dream? He sells books (fiction?) after all. The Convict and the Blind Beggar are fixated by the same dream that takes the form of a lovely, elusive woman. Tension, anxiety and claustrophobia are fundamental to this music. Sharp staccatos, like the ticking of a clock, alarm bells. Yet at the ENO this sense of impending cataclysm was defused. Edward Gardner's Julietta is a pretty, light hearted reverie, not nightmare. The defining extremes in this core are smoothed over, so the firm structure of the opera becomes fragmented.
The singers, even the better ones like Hoare, Shore, Howell, Susan Bickley, Henry Waddington, Emilie Renard and Jeffrey Lloyd Roberts are solid rather than haunting. Martinů 's Julietta is not easy to stage but ironically the visuals (directed by Richard Jones, designed by Antony McDonald) were far more effective than the performance. We need to see this production because it's historic, and good. But anyone who wants to hear what the opera really should sound like should stick to the recordings. Krombholc (1964) is top recommendation, Mackerras conducts only fragments. When the complete new edition, recorded by Jiří Bělohlávek in 2009 is released, that will be the one to get. I've been listening to an aircheck of the broadcast. Even on an amateur quality tape, the true spirit of Martinů 's Julietta shines through, magical and manic in turns. There have been several stagings of Martinů's operas in recent years, and of course the full symphonic cycle, but Julietta is outstanding. This ENO performance doesn't begin to reach those heights. I can't blame anyone thinking that Martinů 's Julietta is mediocre if they haven't heard what it can sound like.