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Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
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.