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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.
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.
16 Jan 2013
A Noteworthy Chicago Revival of Don Pasquale
In its recent run of Gaetano Donizetti’s Don Pasquale Lyric Opera of Chicago has taken the 1973 production from Covent Garden, via Dallas Opera, and revivified it with the efforts of an excellent cast and the local directorial debut of British bass-baritone Sir Thomas Allen.
The title role and Doctor Malatesta were sung by Ildebrando D’Arcangelo and Corey Crider respectively, each making his role debut in these performances. Soprano Marlis Petersen performed the role of Norina and her beloved Ernesto was taken by tenor René Barbera. Stephen Lord conducted the Lyric Opera Orchestra with the Chorus prepared by Martin Wright.
During the orchestral prelude to the performance the lines delineating melodies associated with individual characters were nicely shaped. Don Pasquale’s opening monologue, in which he comments on his imminent meeting with Malatesta and plans for his nephew Ernesto, could have been fully appreciated if the orchestra had played its accompaniment less forte. From the start D’Arcangelo’s demeanor and conception of the role of Don Pasquale were not only dramatically but also vocally convincing. Equally suited to his part on both grounds is Corey Crider as Dr. Malatesta. When he describes the bride whom he has found for the aging gentleman, Mr. Crider inflects the word “angelo” with a rich, baritonal resonance while further executing accomplished runs in his aria “Bella siccome un angelo.” Both performers show an inborn sense of comic timing in their delivery of lines and interaction. When left alone Pasquale reveled in the prospects of his “angelic” bride, while Mr. Crider’s Malatesta watched through a curtained window in self-satisfied approval of the forthcoming masquerade. In a subsequent exchange Pasquale’s nephew Ernesto refuses to abandon his beloved Norina although he faces the prospect of disinheritance by the old gentleman. When Ernesto now learns of his uncle’s plan to marry, with the unexpected assistance provided by Dr. Malatesta, his disappointment is unleashed in the aria “Sogno soave e casto.” Barbera demonstrated a sure sense of legato in his approach, whereas individual pitches could be softened in order to express the fervor of Ernesto’s plight.
The following lengthy scene of Act One offered both Ms. Petersen and Mr. Crider the opportunities to delineate their characters through musical decoration. After Norina’s introductory “So anch’io la virtù magica,” which Ms. Petersen embellished with exquisite, light touches, Malatesta introduces his plan to fool Don Pasquale. Malatesta quiets her initial misgivings due to Ernesto’s emotional quandary and wins Norina over to the masquerade. As she agrees to play the part of Malatesta’s sister and supposedly marry Pasquale in a contrived ceremony, Norina declares “Pronta io son” at the start of their duet. Petersen and Crider here joined in a bel canto synthesis with Malatesta’s declarations of “Brava” ringing out in decorative anticipation of the comedy to be staged.
At the start of Act Two Ernesto’s well-known scene beginning “Povero Ernesto” was touchingly sung by Barbera. Since he has not yet been informed of the ruse, the nephew laments his loss of Norina and plans to leave Rome forever. Barbera invested his line with a graceful piano on “sorte,” then sang his cabaletta with a spirit of determination. At the entrance of Malatesta with the bride, now named “Sofronia,” Don Pasquale is eager to impress the naïve maiden. In this production Sofronia concealed herself demurely behind a screen, a hiding place to which Pasquale will later have access when fleeing his bride whom he can no longer control. The trio “Fresca uscita di convento” was used to enhance the comedic exchange and to tempt Don Pasquale yet further. Here Petersen’s runs were especially well executed, in this way using her voice to add to the character’s attractiveness. At the start of the marriage ceremony Ernesto’s arrival nearly spoils the ruse until he is warned off by the clever Malatesta. From this point until the start of the final scene in the opera comedy is paramount for among the principals only the duped Pasquale will continue to take his altered domestic life seriously. The quartet concluding the act showed a transformed Sofronia already making extravagant orders to improve the household, while Mr. Crider’s excellent passagework continued to guide the charade with masterful vocal control.
As Act Three begins the chorus of servants issues its comments on the new lifestyle in Don Pasquale’s domain. Throughout this scene D’Arcangelo showed his talents especially at acting and singing the part of an emotionally wounded signor without resorting in the least to buffo cliché. The confrontation between alleged spouses leads to Sofronia proclaiming her momentary dominance with a slap to Don Pasquale’s face. At this point the screen provided refuge to D’Arcangelo’s Pasquale as he sought escape from the wife whose acquaintance he now regrets. The final chapter in the charade is set in motion by Sofronia: upon leaving the house after the altercation with her husband, she drops a note intentionally from a presumed lover in which an assignation at night in the garden is suggested. Don Pasquale, no longer cowed and now furious, seeks out Malatesta for counsel, as the chorus, here quite effectively prepared, comments further on the house gone topsy-turvy. During the meeting between Pasquale and Malatesta, in which the gentleman is once again prepared unwittingly to be fooled, D’Arcangelo and Crider sang a model example of the challenging duet “Cheti, cheti, immantinente.”
The final scene indeed rights relationships as Petersen and Barbera sang an especially moving duet, “Tornami a dir,” in which their voices combined in a rush of emotional commitment. Don Pasquale appears and is compelled, again at the instigation of Malatesta, to give his blessing and financial support to the young couple. Yet in the finale relief and joy were palpable for all, including the now transformed Don Pasquale, at the close of this delightful production.
Click here for cast and production information.