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.
23 Dec 2012
Subject: Aimez-vous Meyerbeer?
Well, so many don’t nowadays, it appears to me, judging by the critical
reception of Robert le Diable at the ROH. Rum-ti-tum? We recall
Macbeth, Rigoletto, Trov and even Trav being characterised
thus, popular fare but risible or blush- making, yet those works now command
the highest respect.
True, Meyerbeer lacks the high melodic genius of Verdi,
whose every work is both obviously his yet paradoxically also has its own
unique sound world; but I think the problem is not that. We are out of sympathy
with the social world for which such works were conceived.
Marina Poplavskaya as Alice and John Relyea as Bertram
Long, leisurely five-acters? Plots elevated to the level of the hieratic?
Above all comfortable plushness, with little apparent intellectual bite? All
that suited opera audiences of the time, but something more is needed for
survival, and you don’t have to listen very hard to discern it. Skill in the
construction of a theatre piece, to start with: how different do the two long
scenes between Bertram/Raimbaut and Bertram/Alice sound, for instance,
reflecting Bertram’s manipulation of each of these victims and their
differing reactions (no pushover, she); how each character is delineated
through the music, their unfolding scenas certainly not generic as is
the libretto; how atmospheric are the orchestral passages, even though perhaps
some might long for Weber.
All this would go for naught, of course, without a fine performance. Do you
ever have that feeling, when the lights dim and the first notes arise, that all
will be well this evening, and there is nowhere else you would rather be? It
was that way on Saturday last, softly bathed in pellucid sound (Daniel Oren
conducting) perfectly judged for the auditorium, without that muddiness that
often tells you you’re in for a sticky ride; above all the singers had the
measure of the style: to my ear French display opera has a certain chic
restraint, without the glitz of its Italian counterpart, and whilst Damrau
would have been starrier, Ciofi (yes, an Italian) was most touching, every
cadence perfectly placed. Poplavskaya excelled herself, with an unusual
combination of staunchness and thrilling ease; Hymel paid Meyerbeer the
compliment of taking him seriously, and was utterly believable in the role,
which he made seem child’s play to sing; Relyea has been seriously
undervalued, and Jean-Francois Borras was a delightful new discovery for me.
And the Chorus excelled themselves.
A scene from Robert le Diable
Which brings me to Laurent Pelly’s production. When it comes to the
chorus, modern directors seem to model themselves on Eisenstein. Here there is
a difference: Pelly’s chorus is sometimes Greek, hovering en masse, but
always in articulated geometrical forms — think Pina Bausch dance, where we
see individuals impelled however to move in unison. So in Act 1 we see the
knights tightly choreographed but moving like lava when the occasion demands;
later they assume a diamond formation, as if grouped in a giant boardgame.
Sounds odd, maybe, but it has the effect of throwing the main characters into
individual relief, and aiding the flow of the plot.
The nuns’ music surprised me (I must have been confusing them with
Casanova’s); it is hard to guess what the original movement must
have been, but the costumes were closely modelled on lithographs of that time,
the music perhaps self-indulgently long and unvaried, the dancers nicely
distinguished even if all in the same plight. Only ten, on this big space? I
thought; but then the whole chorus flooded on, swamping the stage, even more
deshabilles, and equally frantic, in a splendid coup de
théâtre. Costumes might well have been taken from contemporary
miniatures; settings from prints of the time (the stage department excelled
itself in their manipulation).
I came away elated, thinking that the composer had achieved an integrated
piece of work on a high level, with that afterglow you get following a really
good meal. I guess that’s what the original audiences felt too. Will
Meyerbeer catch on? Don’t put money on it. Maybe you have to be a bourgeois
Marxist to like it?!
here for additional production information.