Recently in Performances
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.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
05 Oct 2012
Mozart’s Ghost finds its Way through Das Labyrinth
W.A. Mozart, despite a historically antagonistic relationship with his city of birth, retains an omnipresence in Salzburg that emerges in full force with each iteration of the illustrious summer festival.
The indulgence reached its
pinnacle in 2006—fifty years prior to his tercentenary—with the
staging of all 22 of his operas, including early works which scholars have
discovered to have been co-authored by his father, Leopold. This season, the
new Intendant Alexander Pereira has brushed the dust off another 18th-century
obscurity, written not by W.A. himself but in posthumous tribute to his last
opera, Die Zauberflöte. The librettist and impresario Emmanuel
Schickaneder, eager to ride the success of the Singspiel, set to work writing a
sequel, Das Labyrinth, and found a willing partner in the composer
Peter von Winter. The work was premiered at the Theater an der Wien in 1798,
seven years after Mozart’s death and the premiere of Die
To Schickaneder ‘s credit, the ambiguous nature of good and evil in
the original libretto continues to provide scholars with endless fodder. When
Goethe heard of the Das Labyrinth’s success in 1803, he began penning his
own sequel which was left incomplete after the fruitless search for a composer.
While Goethe develops the story in a more Romantic direction, endowing Tamino
and Pamina with a son, the Genius, and augmenting the magical powers of both
the Queen of the Night and Sarastro, the trajectory of Schickaneder’s
sequel does not depart much from Die Zauberflöte despite the
introduction of several new characters and a labyrinth which represents the
final trial for Tamino and Pamina (never mind that Sarastro already initiated
them into his sun circle). Meanwhile, the Queen is scheming not only with the moor
Monostatos but Tipheus, King of Paphos, who vies for Pamina’s hand. They
manage to briefly abduct the princess, but the Queen must ultimately cede to
Sarastro’s powers when Tamino defeats Tipheus in a duel. Papageno and
Papagena, who have discovered a large extended family, also help suppress evil
by capturing Monostatos.
Winter’s score faithfully adopts strains of the original opera with a
range of success. The first duet of Papageno and Papagena, “Lalaera!
Lara! Lara!,” is a pleasant spinoff of “Pa, pa, pa…”
without directly rehashing Mozart’s melodies. The chorus of priests that
ends the eleventh scene of Act One is skilfully crafted, a ghost of
Mozart’s incomparable harmonies, yet it would have been better placed at
the very end of the act. The Queen’s opening aria “Ha! Wohl mir!
Höre es, Natur” reveals that Winter studied his late Mozart operas
carefully, with strong hints of his proto-Romanticism, yet it is melodically
not very inventive, and the firework coloratura that characterizes the role is
reduced to a passage of uninspired runs toward the end. The sequel’s
Pamina is assigned more virtuosity than her original counterpart, but sadly,
the spin-off to the aria “Ach, ich fühl’s”—“ Ach!
Ich muss alleine tragen”—gives no musical indication of her longing
to die and instead culminates in meaningless coloratura. The Three Women, here
named Venus, Amor and Page, get some nice numbers, revealing Winter’s
talent for colourful, pseudo-Mozartean scoring, and yet the effort could have
been more self-conscious. The five-note motive representing the magic flute
does not emerge once, not even when Sarastro hands it to Tamino for protection before
he enters the labyrinth.
Despite the worn-out qualities of the piece, it has its genuinely charming
moments, particularly with Papageno and his clan. In the Salzburg production,
seen August 26, the young Austrian baritone Thomas Tatzl stole the show as the
feathered bird catcher, joking to the audience with tireless charisma and a
naturally warm, well-projected voice. Swiss soprano Regula Mühlemann was also
delightful as Papagena. The celebrated tenor Michael Schade was the stand-out
of the evening from a purely vocal perspective in the role of Tamino, while
Malin Hartelius was more uneven as Pamina, struggling to overcome the
unfavourable acoustics of the Residenzhof, a covered courtyard where audience
members sat with blankets on their laps to ward of the chill of the Salzburger
Schnürrregen (sudden rainfall). The bass of Christoff Fischesser
similarly risked being swallowed in the role of Sarastro. As the Queen of the
Night, Julia Novikova was strongest in pure lyric moments. The baritone Klaus
Kuttler was a frustrated Monostatos, and Anton Scharinger amusing as the Older
The Three Women (Nina Bernsteiner, Christina Daletska, and Monia Bohinec)
brought fine singing to the stage, as did members of the Festival
Children’s Choir who appeared to Tamino as the “Three Genies”
after Monostatos’ attempt to abduct Papagena. The Salzburger Bachchor,
prepared by Alois Glassner, did full justice to Winter’s choral numbers,
and Ivor Bolton led the Orchestra of the Mozarteum in a characteristically
crisp, authentic reading of the score, even if it occasionally lacked elegance.
Sets by Raimund Orfeo Voigt started out inauspiciously with a mini-proscenium
of a theatre that looked straight out of a high-school production but improved
with towering black panels punctured with light to represent Sarastro’s
circle. Costumes by Elisabeth Binder-Neururer were designed in the local
tradition of semi-rococo but reached their apex in the colourful Lederhosen-
and Tracht-inspired garb of the Papageno family. The dancing, feathered
children of the finale reaffirmed Salzburg as an anachronism Mozart might never
have imagined could exist over three centuries after his death.
Click here for cast and production information.