Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
10 Nov 2012
Oliver Knussen: Where the Wild Things Are and Higglety Pigglety Pop!
Marking Oliver Knussen’s sixtieth birthday came a BBC Total Immersion
weekend at the Barbican: a double-bill of Knussen’s two operas written in
collaboration with Maurice Sendak, Where the Wild Things Are and
Higgledy Piggledy Pop! on Saturday, followed by a day of two chamber
concerts, a film, and an orchestral concert conducted by the composer himself
This co-production of the two operas with the Aldeburgh Festival and
the Los Angeles Philharmonic Association was a delight. Netia Jones employs a
cunning, loving mix of animation and live action to retain as much as humanly
possible of Sendak’s celebrated drawings. Sometimes we see more of one than
the other, though the principal characters — the boy Max in Where the
Wild Things Are and Jennie the Sealyham Terrier in Higglety Pigglety
Pop! — are ‘real’ throughout. How much lies their — or our? —
imagination? What is real anyway? The use of animation for the monsters save at
the beginning and end of the first opera — we see the singers go behind a
screen and emerge at the end, and of course we hear the, throughout —
heightens our questioning. The screen in neatly reversed in Higglety
Pigglety Pop! so that we see the secondary characters both on stage and on
film. Again, what is real? Are not both varieties of apparition and/or
depiction? In the land of the Mother Goose World Theatre, all the world’s a
stage — a tribute, surely, as much to Stravinsky and his Rake’s
Progress tribute to Mozart, the latter parodied in Knussen’s final
scene, as to Ravel. (Both Higglety and Don Giovanni end
'outside' their dramas, in bright if tarnished D major.) The repetitions of
that gala performance, the time-honoured tradition of a play within a play,
unsettle as they should. What do they mean? When will they stop? Again, what,
and who, is ‘real’? That is very much the stuff of imaginary worlds,
strongest for some in childhood, but for many of us just as powerful in
subsequent stages of our lives.
Crucially, the sense of fantasy in libretto and production is at the very
least equally present in Knussen’s scores, kinship with Ravel especially
apparent in Where the Wild Things Are. And we all know who composed
the most perfect operatic depiction of childhood. Stravinsky sometimes seems
close too, for instance in the fiercer rhythmically driven music of the second
scene (Mama and her hoover), the Symphony in Three Movements coming to
my mind. And the musical material itself of course delightfully pays tribute
both to Debussy’s La boîte à joujoux and most memorably to
Boris Godunov, direct quotation reminiscing of the Tsar’s ill-fated
coronation when Max is crowned King of all Wild Things.
A scene from Higglety Pigglety Pop!
Ryan Wigglesworth’s direction was palpably alive to this sense of
orchestral wonder and fantasy, his programme notes an exemplary tribute from
one composer-conductor to another from whom he has learned a great deal. The
tone of performance darkened in tandem with that of the score for Higglety
Pigglety Pop! Detail was meaningful without exaggeration, for instance in
the subtle pointing up of certain intervals associated with different
characters. Those with ears to hear would do so, consciously or otherwise.
Moreover, the orchestra’s response was as assured, as disciplined, as
generous as the conductor’s direction. The Britten Sinfonia was throughout on
outstanding form, thoroughly inside Knussen’s idiom, unfailingly precise
without sacrifice to warmth of tone. Despite relatively chamber-like forces, at
least in the string section (22.214.171.124.4), one often felt that was hearing a
larger orchestra, for this was anything but a small-scale performance. Indeed,
accustomed as I am to hearing the London Symphony Orchestra at the Barbican,
there were many times when I should not have been surprised to discover that I
had in fact been hearing the LSO.
Claire Booth headed a fine cast for Where the Wild Things Are, her
Max as quicksilver on stage as vocally. Lucy Schaufer proved every inch her
equal as Jennie in Higglety Pigglety Pop! Very much the singing
actress, her deeper mezzo tones were perfectly suited to the darkened tones of
the score. There is something a little dangerous about Jennie and the acting
world of ‘experience’ for which she forsakes her comfortable home — yet
in a sense all children must at some point act similarly. All members of the
two casts, however, were richly deserving of praise, a particular favourite of
mine Graeme Danby’s surreal, apparently innocent Pig-in-Sandwich-Boards.
These performances came across as true company efforts, a state of affairs
doubtless deepened by ‘experience’ in Aldeburgh and Los Angeles.
Where the Wild Things Are
Max: Claire Booth; Mama/Voice of Tzippy: Susan Bickley; Moishe: Christopher
Lemmings; Emil: Graeme Broadbent; Aaron: Jonathan Gunthorpe; Bernard: Graeme
Danby; Tzippy: Charlotte McDougall
Higglety Pigglety Pop!
Jane: Lucy Schaufer; The Potted Plant/Baby: Susanna Andersson; Rhoda/Voice
of Baby’s Mother: Claire Booth; Cat-Milkman/High Voice of Ash Tree:
Christopher Lemmings; Pig-in-Sandwich-Boards: Graeme Danby; Lion/Low Voice of
Ash Tree: Graeme Broadbent
Netia Jones (director, designs); Britten Sinfonia/Ryan Wigglesworth
(conductor). Barbican Hall, Saturday 3 November 2012.