Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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 (126.96.36.199.4), 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.