Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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.
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