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It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
19 Jan 2013
Baroque treasures at the Barbican, London
The Barbican is going have a bit of a baroque moment next month. Joyce DiDonato will be bringing her Drama Queens programme, then there will be complete performances of Handel's Radamisto and Lully's Phaeton.
Accompanied by Il Complesso Barocco directed by Dmitry Skinkovsky, Joyce DiDonato will be performing a selection of arias from great queen roles in baroque opera, on February 6. She performs arias for Cleopatra by Handel (from Giulio Cesare) and Hasse (from Antonio e Cleopatra). Hasse married Handel's leading lady, Francesca Cuzzoni, and settled in Naples, but Antonio e Cleopatra dates from early in his career when he was based in Naples. DiDonato will also be singing one of Rossane's arias from Handel's Alessandro, written for the great trio of singers Senesino, Francesca Cuzzoni and Faustina Bordone with Rossane being sung by Bordone.
An earlier generation is represented by Ottavia's final aria from Monteverdi's L'Incoronazione di Poppea.
Other baroque composers in the recital are rather less well known. Giuseppe Orlandini (1676 -1760) worked extensively in Italy, but his opera Arsace was premiered at the Kings Theatre in London in 1721. DiDonato will be singing an aria from his opera Berenice which dates from 1725. Geminiano Giacomelli was Italian born, but worked extensively in Vienna. His opera Merope was premiered in Venice in 1734, and DiDonato sings an aria from this opera. Giovanni Porta was another Italian composer who worked in London, his opera Numitore was premiered at the Kings Theatre in 1720. We will be hearing an aria from Ifigenia in Aulide, which was premiered in Monaco in 1738
The orchestra will also be playing instrumental music including a Vivaldi concerto written for Dresden, and the passacaglia from Handel's Radamisto.
We get the complete Radamisto on Feburary 10 with David Daniels singing the title role in a concert performance with Harry Bicket conducting the English Concert with Patricia Bardon as Zenobia, Luca Pisaroni as Tiridate, Elizabeth Watts as Tigrane, Brenda Rae as Polisenna and Robert Rice as Farasmene
Radamisto dates from 1720 and is one of the most serious of Handel’s serious operas (opera seria) written for the Royal Academy in the earlier part of his career. His aristocratic patrons who ran the academy were interested in seeing noble characters put through difficult situations, morally uplifting. The plot can sometimes seem convoluted, and there is no light relief, but Handel’s response to the characters difficulties is wonderfully subtle and humane. After the first performance in April 1720, Handel radically re-cast the opera so that the title role could be sung by the alto castrato Senesino, recently arrived in London. This gives us the unusual situation where one of Handel’s revisions to his Italian operas is as valid artistically as the original. The English Concert will be performing the revised version.
Prior to their Barbican performance, they are performing the work at the Theatre des Champs Elysees in Paris and at Symphony Hall in Birmingham.
Then on 10 March we move to Paris, as Christoph Rousset and Les Talens Lyriques perform Lully’s Phaeton with Emiliano Gonzalez Toro, Ingrid Perruche, Isabelle Druet, Sophie Bevan, Andrew Foster-Williams, Matthew Brook, Benoît Arnould, Cyril Auvity, Virginie Thomas. Lully wrote the opera to a libretto by his regular collaborator Philippe Quinault and the work premiered at Versailles in 1683. Its plot, dealing with the hubris of Phaeton, son of the Sun god, can be seen as an allegory of the punishment awaiting those mortals who dare to raise themselves as high as the sun (i.e. the Sun King, Louis XIV). The opera is the 10th of Lully’s 14 tragedies lyriques. As with all operas in the form, it mixes aria with choruses and extensive dance episodes which are integrated into the plot.