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Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
16 Nov 2012
Alagna sings Nemorino - L'elisir d'amore at the Royal Opera House, London,
One of the main reasons for interest in the Royal Opera’s latest revival of Donizetti’s L’elisir d’amore was that tenor Roberto Alagna had chosen to return to the role of Nemorino. Though he had sung Nemorino earlier in his career, he had never sung the role at Covent Garden. The other cast members were of a high order too, with Alexandra Kurzak as Adina, Ambrogio Maestri as Dulcamara and Fabio Capitanucci as Belcore. So plenty of reasons for seeing the revival, which I caught on opening night 13 November 2012.
Laurent Pelly’s production had been revived by Daniel Dooner, the results in Chantal Thomas’s designs looked handsome and it was all charmingly entertaining without being heartless. Pelly and Thomas had chosen to set the opera in a small Italian farming town in the 1950’s. Wheat and straw bales were a big feature of the set, with a wheat-field as part of the backdrop and piles of straw bales used extensively in large stacks as the location for much of the action. The other significant visual effect was the use of transport. The chorus moved around on bicycles, vespas and mopeds, Dulcamara arrived in a huge truck and Nemorino appeared driving a tractor (whilst drunk) towards the end of act 2.
Neither the set nor the production really pushed the 1950’s setting too far, which meant that the piece worked very well. Donizetti’s opera is about a small town farming community and Pelly’s lovely detailed observation ensured that we were drawn into the doings of this particular one. The chorus were very much part of the action, and helped create the mis-en-scene for the soloists. The entire performance had the feeling of a group enterprise, an ensemble piece despite the presence of star names; it was all the better for it.
Alagna can no longer sing Nemorino with the grace and beauty of tone that he once could. But his determination to sing Nemorino whilst also singing Radames and Enee is rather admirable and has the feel of an earlier age when these roles were often taken by singers with larger voices. Of course, all this would be as naught if Alagna could not still sing the role. Granted, his voice was at times slightly louder than ideal, but he negotiated all the passagework deftly, if not ideally neatly. His voice did not always quite behave as he wanted, a couple of high notes were compromised, but he still produced some lovely tone and his account of Una furtiva lagrima was still a thing of beauty on its own terms. If you accepted that stylistically he was channelling Puccini, then there was a great deal to admire.
But it was Alagna as an actor, as a stage creature, who made the performance. From the outset he was completely charming, with a winning manner and an extreme physicality to the performance (to the extent of even losing his clothes) which could have turned into a stunt but in fact became part of his delightful characterisation of Nemorino. I have to admit that I went into the performance a little dubious, but came away entranced. Alagna’s performance was very much team work, he worked with his other performers and was clearly having a whale of a time.
It helped, of course, that he had such a strong team around him. Alexandra Kurzak has sung in the production before and remains a complete delight in this repertoire. Her capabilities in singing elaborate bel canto roles is astounding, but she is not just a technical delight she uses her technical abilities to create a real character. Her Adina was wonderfully pert and flirtatious, but even from the outset it was obvious that she felt something for Nemorino, and Kurzak allowed us to see this and developed it.
There were plenty of vocal delights on the way as well, but everything combined superbly in her account of her act 2 aria Prendi, per me sei libero where her feeling for Nemorino is displayed, combined with technical finesse.
Dulcamara was played by Ambrogio Maestri with rotund good humour. He was more the loveable rogue than the edgy character in some versions of this opera and I understand that the satire was more pointed when Pelly’s production was new. Maestri is very adept at using his bulk to devastating comic effect, but his account of the role was also very finely sung. It was buffo, but with a very clear musical line and very good it was too. Maestri also had a number of delightful tricks, such as interpolating little whistling noises when singing the comic duet with Adina during the wedding scene in act 2. But you felt that Maestri was less interesting in comic business for its own sake, and more intent on using it to create character.
Fabio Capitanucci (last seen here as Chorebe in Les Troyens) was finely fatuous Belcore, but one with a creditable swagger who would clearly be of interest to the ladies. Much of the humour came from the fact that his troops consisted of just two recruits, two mismatched boys one tall one small, both in ill-fitting suits. The way that, at the end he smoothly transferred his affections to Giannetta (Susana Gaspar) made it clear that Belcore was a survivor.
Gaspar (currently one of the Royal Opera’s Jette Parker Young Artists), was announced as suffering from a cold, but there were thankfully no audible effects and she made a charming Gianetta.
Bruno Campanella conducted; he got off to a slow start, and there were one or two hiccups in ensemble between pit and stage in the more complex choruses. But as Campanella got into the swing of things, there was much to enjoy in his performance. I have to confess, that I do rather prefer this opera in a smaller opera house, but he managed to get a nicely sparkling performance from the orchestra.
This was a joyous evening in the theatre, just what L’elisir d’amore should be.