Recently in Performances
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.