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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
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).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
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.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
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.
18 Nov 2012
More Tosca in San Francisco
Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment.
Patricia Racette is a powerful lyric soprano who like all great singers possesses a unique voice, its signature sound is the interplay of excited overtones. This excitement, these vocal nerve endings possess all of these Puccini victims, and transmit their vulnerability, their super human strength, their beauty, above all a melodramatic feminine humanity that has endured one full century now, and will still be real as long as there may be humankind.
Mme. Racette is a committed and skilled actress, but more so she is an honest artist. Her voice is in its prime, as it has been and will be for some time. To her voice she adds intelligent and straight forward musicianship that ties us securely to her character, thus we are held captive by her very presence even in the numerous pantomimes when Tosca does not sing, but silently observes the murdered Scarpia, and approaches the dead Cavaradossi. It is her rock solid artistry in service to real human drama that seduces us.
Mark Delavan as Scarpia
If in the first act la Racette does not find the persona of a jealous diva, one we suspect we would find in the more usual spinto voiced Tosca. Racette does persuade us that she is a woman in love, and a woman vulnerable to powerful men, fiery revolutionaries and corrupt functionaries. At the opera’s end, finally trapped by these forces she frees herself in her dramatic leap. And what a leap it was — in spread eagle form, the euphoria of liberation. Patricia Racette is a bona fide diva.
These days in the War Memorial when Nicola Luisotti is on the podium individual performances are tied to the pit, an aria is really a duet, and such was the case last night in a stunning delivery of Vissi d’arte, the maestro in his euphoria of pillaging every possible tremor of feeling from a very willing orchestra, the soprano but a part of his larger whole. Scarpia and his henchmen plotting to ensnare Angelotti, Cavaradossi and Tosca captured with a musical force nearly equal to Verdi’s Otello, culminating in a Te Deum that had much more to do with Luisotti and Puccini and the joy of sheer power than with Scarpia.
The maestro plumbs a depth of sound and searches color in the orchestral voice, and only then pushes forward the flow of musical action. This creates a stop and go rhythm of often extreme tempos, fast or slow. Last night in the second act in particular these fluctuating tempos musically riveted us to the interplay of Tosca and her tormentor, and in the third act bound us to her nervous fear.
Tosca’s tormentor, the Scarpia of bass baritone Mark Delavan, was not driven by the pure, unadulterated lust that usually drives this politically privileged baron. Instead Delavan toyed with his power, the seduction of Tosca was played as a game with himself, as proof of his privilege, not as release of his unbridled libido. Delavan found a humanity in Puccini’s villain that was supremely ugly, more offensive than exercising sexual prowess. Utilizing the inherent beauty of his now mature voice he thoroughly embodied the bloated, entitled political aristocracy. This was Mark Delavan as an estimable artist. We would have expressed our appreciation had he stayed around for the bows at the end of the opera.
Mark Delavan as Scarpia and Patricia Racette as Tosca
Against all this, a quirk of impresario privilege, San Francisco Opera general director David Gockley cast an Adler Fellow as the artist and revolutionary tenor Cavaradossi. Young tenor Brian Jagde held his own to some degree, while definitely out of his league. He possesses a young, vibrant voice and secure high notes. He lacks the squillo that would make his voice Italianate, nor is he yet schooled in the style. There was the occasional catch that sometimes might have been the tenorial sob and other times might have been a momentary catch in an overburdened voice. While Mr. Jagde was abundantly rewarded by the crowd for his performance the fact remains that the War Memorial is not an appropriate stage for a young singer to break in a role.
Supporting roles were superbly cast. Christian Van Horn made a detailed and very present Attavanti who set the stage for a revolutionary tone to Puccini’s opera. Tenor Joel Sorensen etched a sniveling Spoletta, brutalized by Scarpia and Adler Fellow Ao Li was right-on as Sciarrone. Not to overlook the low key, masterful, not too intrusive Sacristan of Dale Travis.
The production was the 1997 remake of the 1923 production, and it is time to send it to the dump — its nostalgia has been lost and it is boring. The staging of this umpteenth revival was however masterfully managed by Jose Maria Condemi. Hopefully Mr. Condemi will write a book to reveal the now secret (maybe best left untold stories) of staging these San Francisco Opera Tosca follies.
Cast and Production
Floria Tosca: Patricia Racette; Mario Cavaradossi: Brian Jagde; Baron Scarpia: Mark Delavan; Angelotti: Christian Van Horn; Spoletta: Joel Sorensen; Sacristan: Dale Travis; Sciarrone: Ao Li; Jailer: Ryan Kuster; Shepherd Boy: Ryan Nelson-Flack. San Francisco Opera Orchestra and Chorus. Conductor: Nicola Luisotti; Stage Director: Jose Maria Condemi; Production Designer: Thierry Bosquet; Lighting Designer: Christopher Maravich. San Francisco War Memorial Opera House. November 16, 2012.