Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
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.