For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
An opera called Where the Wild Things Are based on a libretto by Maurice Sendak may sound like a mere treat for children, but when paired with the music of Oliver Knussen, as performed by the Los Angeles Philharmonic, in a new and unique production by Netia Jones, it makes for a forty minute joy ride into fantasy land for adults as well.
Sendak’s original book has been around for a long time. Published in 1963, it was immediately criticized by child psychologists for arousing possibly traumatic wild animal feelings within children, and set off a great public debate on the subject. By 1979 however, the work had not only become a canon of children’s literature, but the Opéra National in Brussels commissioned Knussen to compose a work based on the story, in celebration of UNESCO’s International Year of the Child. The opera premiered there in 1980. But Knussen didn’t complete the work to his satisfaction until 1984. This version of the score, with costumes designed by Sendak, was performed in London by the Glyndebourne Touring Opera, that same year.
For anyone, who may not know the story, it’s about a boy named Max, whom we meet when he is wearing his wolf suit, bushy tale and all, and hammering away at everything that annoys him — causing such havoc at home that his mother calls him a “wilde chaya”, Yiddish for wild animal. Max repeats these Yiddish words to himself in an ongoing frenzy, when his mother orders him to bed without dinner. Miraculously, his room is transformed into a jungle and Max sets off on a long sail into a land full of wild animals who at first threaten him, then crown him their King, which occasion is celebrated with a wild “rumpus.” (Such a 1960s word!) Suddenly hungry, Max begins longing for home, and wonders whether he’ll find any food there. Sure enough, back in his own bedroom, after his return sail, he finds his supper — still hot.
In Jones’ restrained but elegant production, Sendak’s own illustrations are projected on a large screen and animated on a offstage keyboard by Jones. Max, the only live character on stage, except for the momentary appearance of his mother, interacts with the projections. Figures representing Max’s family in their ordinary clothes, are silhouetted behind an offstage screen, from where they sing and act their wild animal parts. A small orchestra is clearly visible performing this marvelously orchestrated score. Added to its usual ranks are a tinkling two handed piano part, a rumbling contra bassoon and among too many other percussion instruments to list, clogs, sizzle cymbals, a spring coil, and “balloon with pin.”
The opera has had many stagings — three new ones just this year in Germany and Holland. But my guess is that charming and inventive as other productions may be, Jones’ vision, which uses Sendak’s own cross-hatched drawings of sharp clawed, fuzzy footed beasts, with facial expressions that only he could create, offers a simplicity and kind of purity that no other will match.
The cast was headed by Claire Booth, a slight, vivacious soprano, with voice enough to rise over the orchestral rumblings and energy enough to rumpus for forty minutes. Booth, as well as the rest of the cast, sang the production’s premier last June at the Aldeburgh Music Festival. They will repeat their performances in November at London’s Barbican Hall.
Along with the brief opera, the orchestra performed Ravel’s Mother Goose Suite, accompanied by Jones’ more traditional silhouettes projected as though in a story book. Though Ravel’s work is a ballet, which implies constant movement to the music, Jones’ projections were fairly still, but added an interesting dimension to the orchestral story-telling. The star of this performance was the orchestra and the wonderful variations of sound it produced within its subdued, but silken rendering of the French score.
The Disney Concert Hall is not an ideal venue for producing opera. When a side of the orchestral space is used for staging, as it was here, the audience seated above that space, cannot see what is happening directly below them. I sat above the screen behind which the Max’s silhouetted family was acting and singing, and didn’t know that they were there until they came out for their curtain call. I hope some way can be found to improve sight lines for producing the expanded repertory including staged vocal works that the Orchestra is planning to offer in the Hall.
Max:Claire Booth; Mama/Female Wild Thing:Susan Bickley; Moyshe/Wild Thing with Beard:Christopher Lemmings; Aaron/Wild Thing with Horns:Jonathan Gunthorpe; Emil/Rooster Wild Thing:Graeme Broadbent; Bernard/Bull Wild Thing:Graeme Danby; Tzippy:Charlotte McDougal. Los Angeles Philharmonic Orchestra. Conductor: Gustavo Dudamel. Director, Designer and Video Artist: Netia Jones. Lighting Design: Ian Scott.