Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

OPERA TODAY ARCHIVES »

Performances

20 Jan 2013

San Diego Opera new season 2013

The New Year 2013 is here and San Diego Opera will open its season at the end of this month. The company will present four well known operas: Gaetano Donizetti's The Daughter of the Regiment (La Fille du Regiment), Camille Saint-Saëns' Samson and Delilah, Ildebrando Pizzetti's Murder in the Cathedral (Assassinio nella Cathedrale) and Giuseppe Verdi's Aida along with a Mariachi opera: Cruzar la Cara de la Luna, (To Cross the Face of the Moon).

Although Donizetti was Italian, he composed The Daughter of the Regiment to a French libretto by Jean-Francois Bayard and Jules-Henri Vernoy de Saint-Georges. On February 11, 1840, it was first seen at the Opéra Comique in Paris. Three years later, its American premiere took place in New Orleans, not New York. The opera is a showpiece for the tenor who sings nine high Cs in the aria 'Ah! Mes amis, quel jour de fête'. In San Diego, that tenor will be Stephen Costello who has previously sung brilliant performances of Romeo and Faust there. His
sweetheart, Marie, will be Slovakian coloratura soprano L'ubica Vargicová who was an exquisite Gilda in Rigoletto at San Diego in 2009 and who is well known for her portrayal of the Queen of the Night in The Magic Flute at the Metropolitan and Los Angeles Operas.

Renowned Polish contralto, Ewa Podleś and American soprano Carol Vaness will sing the character roles of the Marquise of Birkenfeld and the Dutchess of Krakenthorp. Here is what Ms. Podleś wrote about the opera: "What is The Daughter of the Regiment about? It’s about love! The Marquise of Berkenfield? In the pure theatrical sense she is not the main role, but on the other hand, it is Marquise who is the spiritus
movens of the entire plot. It is she who finally decides about the fate of two people in love. Their future happiness depends on her. That’s why, even though hers is not the main role, in many ways she is the leading character."

"San Diego is a place with a soul! My return to the San Diego Opera is an opportunity to meet a magnificent, charming staff, sensitive public and personally, Stage Director Emilio Sagi, whom I love to work with because of his internal space and his limitless imagination. And last but not least, a meeting with Carol Vaness. Both of us we made our Met debuts at the same performance of Rinaldo in 1984."

You can see The Daughter of the Regiment on the evenings of Saturday,
January 26th; Tuesday, the 29th; Friday, February 1st, or at the Sunday
matinee on the 3rd.

The second production at San Diego Opera will be Camille Saint Saëns'
Samson and Delilah with bronze-voiced tenor Clifton Forbis as the
Biblical strong man and seductive mezzo-soprano Nadia Krasteva as the
beautiful but treacherous lover who cuts off his all-important hair. With
full chorus, a fascinating ballet, colorful costumes, and monumental
sets, this is a blockbuster production not to be missed. Resident
Conductor and Music Administrator Karen Keltner will lead the orchestra.
Performances are on Saturday, February 16th; Tuesday, the 19th; Friday,
the 22nd; and Sunday, the 24th.

On March 16th, San Diego Opera will present two performances of the
Mariachi opera Cruzar la Cara de la Luna (To Cross the Face of the Moon)
which has music by José "Pepe" Martínez and lyrics by Leonard Foglia
and the composer. The performers are the well-known Mariachi Vargas of
Tecalitlán who can be heard on more than eight hundred recordings. The
bilingual opera follows three generations of a family, their countries,
their cultures and their customs. The central character, Mark Velasquez,
is a Mexican-American. Like the Monarch butterflies which migrate every
year to the birthplace of his father, Mark and the members of his family
must travel both physically and spiritually between Michoacán and Texas
and look deep into their hearts before they learn where they truly
belong.

Celebrate the music, memories, color, and high spirits of Mexico in this
semi-staged production as the rich classical sounds of the traditional
Mariachi and brilliant soloists create a poignant and moving opera.
Directed by Broadway's Leonard Foglia, Cruzar la Cara de la Luna will
have super titles in both English and Spanish.

San Diego Opera's presentation of Ildebrando Pizetti's rarely seen
opera, Murder in the Cathedral, has sparked interest from all over
the country. It tells the true story of Thomas Becket, the Archbishop of
Canterbury, who was brutally murdered in his cathedral in 1170. The role
of the archbishop is a tour-de-force for the great Italian bass Ferruccio
Furlanetto. Susan Neves sings the leading female role of the First Chorus
and Allan Glassman is the Herald. General Manager Ian Campbell stages the
production and the conductor is Donato Renzetti.

Mr. Furlanetto writes: "Murder in the Cathedral is a wonderful
theater' piece commissioned by the Canterbury Cathedral itself and it has
been a very fortunate subject for a movie as well. In 1953 Ildebrando
Pizzetti composed his opera on this subject, being also extremely
faithful, in his libretto, to T.S. Elliot's best-selling book. It is
based on a real event that occurred during the controversy between the
English monarchy and the Roman Catholic Church which led to the murder of Archbishop Thomas Becket after his Christmas sermon in 1070."

"In the Pizzetti work, the character of Thomas Becket is an extremely
demanding role, vocally and physically. It is basically a one-man show in
which the Archbishop, who has returned to England after a voluntary exile
of seven years in France, faces a tremendous decision. He had been a
successful politician and a high-ranking personality in the Kingdom when
he decided to embrace the Catholic faith and become a priest. Now he had
to decide whether to kneel in front of the king or to assert the power of
the Church over the power of the monarchy. Becket knew that the second
choice would have meant a terrible clash with the royal institution but
this choice was the only one left to a man of his integrity. This role is
really fascinating because of the multiple aspects of Becket's
personality and the troubled decision, which would bring him to
martyrdom."

"The dramatic character of Thomas Becket is equally supported by the
characteristics of an intense vocal line applied to a splendid, deeply
intellectual text. The scene and aria that ends the first act is one of
the most rewarding moments of the operatic repertoire and a unique
privilege for the interpreter. I am very grateful to the San Diego Opera
to have made this possible. It is a very courageous choice and I am sure
that it will be rewarded by the San Diego audience which is one of the
most refined in the States, and by the national and international
attention that is being paid to this event."

"For me, after the tremendous joy and satisfaction of once again
assuming this role, it will be another splendid occasion to be in my
favorite spot on the planet, an area where I had so many enjoyable events
and situations and where I can count on a great number of friends who
always let me feel always their warmth and affection."

Ms. Neves writes: "I think the plot of Murder in the Cathedral is
very current. There has always been discord between Church and state and
it is still happening today. There are always religious fanatics that
believe they are fulfilling God's will when they randomly kill people who
do not believe as they do. The opera does not focus on the differences
between the King and Becket, per se, but more on the murder itself. As
one of only two female characters in the opera, I feel the First
Chorister is the voice of the people. They are fearful for their beloved
Archbishop and also, as women, feel the grief and desolation of the
injustice of the murder to come and the religious unrest in their
country."

"The role is different from most of the other operas in my
repertoire. The First Chorister is the spokeswoman of the female
chorus and as we know, the Church is a male dominated entity. I am
looking forward to singing a role where I comment on the action
instead of being a part of it. Musically, it is beautiful to sing. As I
mentioned before, I am thrilled to make my debut in San Diego and I am
looking forward to working with Ian Campbell and Maestro Renzetti."

Performances are Saturday, March 30th; Tuesday, April 2nd; Friday the
5th; and Sunday, April 7th.

For it's season finale, San Diego Opera presents Verdi's magnificent Aida
in a setting by fabulous colorist Zandra Rhodes whose vivid, monumental
designs enhance Verdi’s vision of ancient Egypt and make this an
unforgettable production. These brilliant sets and beautifully detailed
costumes follow the lead of Egyptian museum pieces. This production,
which has been feted in London, San Francisco, and Houston, will be seen
in San Diego for the first time. Rising American star soprano Latonia
Moore will be the Aida, the Ethiopian Princess who loves the Egyptian
general. Italian tenor Walter Fraccaro sings Radames, the general, and
the Met's wonderful mezzo, Jill Groves is Amneris. Andrew Sinclair will
direct and Daniele Callegari will conduct. Performances are April 20th,
23rd, 26th, and 28th.

Maria Nockin

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):