Recently in Reviews
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
21 Oct 2012
Mozart and Salieri — Young Artists at the Royal Opera House
Nikolai Rimsky-Korsakov’s opera Mozart and Salieri (1897) received its first ever performance at the Royal Opera House as the highlight of Meet The Young Artists Week at the Linbury Studio Theatre.
Salieri is jealous because Mozart makes composing look easy. He poisons Mozart but weeps, since he’s reading the score for the Requiem, presumably overwhelmed by its beauty. We know the plot is fiction, but the text is by Alexander Pushkin, who lifts it above maudlin melodrama. Salieri can kill Mozart but he can’t kill his art. In destroying his rival, Salieri has compromised his integrity. “Can crime and genius go together?” he asks himself, and consoles himself with the thought that Michelangelo killed his model for the crucified Christ to get a better likeness for death. Does art justify murder? Pushkin and Rimsky-Korsakov possibly knew the tale was untrue, making Salieri’s excuse highly ironic.
Mozart and Salieri is unusual. The part of Salieri so dominates the work that it is more psychodrama than opera. Mozart and Salieri barely interact. Mozart isn’t a character so much as the embodiment of music. The real protagonists here are Salieri and the orchestra. At critical moments, Rimsky-Korsakov adds apposite musical quotations. Moments of Cherubino’s “Voi che sapete” convey Mozart’s youthful impudence. Fortepiano melodies are played, and shrouded figures sing excerpts from Mozart’s Requiem. References to Salieri’s opera Tarare and to Beaumarchais and Haydn are embedded into text and orchestration, expanding Salieri’s monologue. He can “hear” but he can’t create like Mozart can. The Southbank Sinfonia was conducted by Paul Wingfield, with Michele Gamba playing the keyboard Mozart is seen playing invisibly on stage, his hands lit with golden light. A magical moment.
Ashley Riches sang the demanding role of Salieri. His experience and skill come over well, even though he’s been a member of the Jette Parker Young Artists programme for barely a month. Later this year, he’ll be singing parts in The Royal Opera House Robert le Diable, Don Carlo and La rondine, and covering the title role in Eugene Onegin. In this opera, Mozart isn’t given much to sing, and the range in the part is limited, but Pablo Bemsch developed the role purposefully through his acting. Salieri thinks Mozart is skittish: Bemsch with sheer personality shows that Mozart is a stronger character than Salieri could ever fathom. Bemsch is a second-year Young Artist and has been heard extensively. He’s covering Lensky in February 2013.
The Jette Parker Young Artists Programme isn’t just for singers but focuses on theatre skills. This production was one of the most sophisticated I’ve seen for a group with these relatively limited resources. Sophie Mosberger and Pedro Ribeiro designed an elegantly simple set, which suggested that Salieri, despite his wealth and status, was a fundamentally isolated man. The little puppet figure buffeted by figures in the darkness suggested that both Mozart and Salieri were victims of forces greater than themselves. Exquisite lighting by Warren Letton, colours changing as mysteriously as the music. A stunning finale, where the dark figures singing excerpts from the Requiem move around lighted candles. Since financial problems will haunt the opera world for a long time to come, this restrained but poetic minimalism may be the way ahead. This production was intelligently thought through, and musically sensitive.
Before Rimsky-Korsakov’s Mozart and Salieri, we heard Mozart’s Bastien and Bastienne, written when the composer was twelve years old. It’s a slight piece about a courtship between shepherd and shepherdess. Staging this literally would expose its weaknesses. Ribeiro and Mosberger set the Singspiele in a vaguely industrial landscape, which added much needed good humour and gave the singers more material with which to develop character. The trouble is, neither Bastien or Bastienne are much more than stereotypes. David Butt Philip, another new Young Artist, generates interest with his voice though the part is shallow. Dušica Bijelić sings sweetly but needs to project more forcefully. Jihoon Kim made a much more convincing portrayal of Colas, the wise older man who sorts things out. He was a striking Hector’s Ghost in the Royal Opera House Les Troyens in June 2012, and will be singing in several ROH productions in the 2012/13 season.