Recently in Performances
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.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
02 Feb 2013
A Timeless Hänsel und Gretel in Chicago
In remounting its 2001 production of Engelbert Humperdinck’s Hänsel und Gretel Lyric Opera of Chicago has demonstrated the timeless nature of the score and narrative as well as the ingenuity of the production with its thoughtful and touching updating to a twentieth-century milieu.
The title roles were sung by Elizabeth DeShong and Maria Kanyova, the Mother and Father by Julie Makerov and Brian Mulligan, the Witch by Jill Grove, and the Sandman and Dew Fairy by Emily Birsan and Kiri Deonarine. Ward Stare led these performances in his Lyric Opera conducting debut.
In its performance of the overture the Lyric Opera Orchestra under Stare’s sensitive direction exemplified the rich colors and tonal depth of Humperdinck’s score. The initial chords for brass were effectively varied and, when repeated, punctuated by melodic emphases in the strings and percussion. Toward the close of this prelude the softer instrumental textures as here played suggested an age that would follow on the trials of human effort. During the course of the overture the stage was veiled by a scrim depicting an empty plate and utensils. Once the first act begins in this production, the significance of the image becomes clear. The children Hänsel and Gretel face each other while seated at the kitchen’s table. Both Ms. DeShong and Ms. Kanyova communicated a temperament of adolescent irritation coupled with human need. The children are hungry and their facial expressions revealed attempts to deal with their current isolation. The parents have gone off to procure food and have left Hänsel and Gretel with the responsibility of domestic chores. Of course little work is accomplished and their vocal exchanges were more expressive of self-amusement. After a tantalizing melisma performed on “Geheimnis” [“secret”] Kanyova’s Gretel instructed her brother in proper dance steps [“Einmal hin, einmal her”]. While DeShong’s Hänsel proclaimed in a truly joyful spirit that he was committed to “Tanzen und fröhlich sein” [“Dancing and happiness”], the antics of the children reached a crescendo from the floor to the top of the table. At this highpoint the mother returned and chided the two for their irresponsible behavior. Ms. Makerov released powerfully emotional pitches on “Sorgen” while describing these very worries caused by financial hardship. Since the children seem unable to appreciate the family’s plight, the mother sends them out to the forest in search of berries for an evening meal. When left alone Makerov gave full vent to her emotions with expressive yet controlled volume on “Kein Essen im Schrank” [“No food in the cupboard”]. As she prepared to take pills as a means to calming her mid-century nervousness, the voice of the father signals his approach in the familiar “Tra la la la
Hunger ist der beste Koch” [“Hunger is the best cook”]. Mr. Mulligan’s entrance was a model of lyrical and dramatic commitment to character. He sang with robust emphasis on “Kauf Besen” [“Buy brooms”] to explain how he encouraged his customers of the day to buy up his wares. As if to celebrate his financial success the father displayed the foodstuffs which he had purchased for the common meal. Once the parents begin to eat, the mother admits that she has sent the children out alone into the forest. The father berates her carelessness while frightening her with tales of evil in the haunted wood. Mulligan dominated the close of this first act with his noteworthy intonation describing the “Hexenritt” [“witches’ ride”] practiced in the forest.
The orchestral introduction to Act Two with an emphasis on cellos and higher strings matched the calming yet inquisitive mood in the forest as the children searched for and consumed the berries they found. DeShong’s Hänsel accused with striking low notes “Du bist selber schuld” [“It is really your fault”] as they discover that they have eaten their entire yield. After Hänsel claimed “Ich bin ein Bub und fürchte mich nicht” [I am a boy and am not afraid”], both children became apprehensive of their surroundings. In this production Hänsel assumes a protective gesture toward his sister as they sing their evening prayer “Abends will ich schlafen gehen” [“At night I lay myself to sleep”]. Kanyova and DeShong gave a wonderfully moving rendition of the duet, as the Sandmann then lulled them into sleep. The “two times seven angels,” to whom they have prayed, are here visualized in their dreams as servants and cooks at the table to which the children are invited after being helped into properly formal attire. At the close of the act Hänsel and Gretel are served as guests at table by these creatures with wings of angels.
The third act of the opera displays the plate on the scrim now covered more noticeably with red as indication of the berries consumed. Kanyova’s bird-like song with which she awakened Hänsel was sprightly and infused with coloratura touches. As the children compared notes about the angels seen in their respective dreams, an enormous cake emerged from the back of the stage. Gretel is the first to sample the cake until both children hear the voice of the witch, Rosina Leckermaul [aka, Rosina Sweet-tooth] In this role Jill Grove wore a housedress and embodied the busyness of a German domestic yet with the powers and desires associated with magic and evil. Grove caused Hänsel to freeze in movement with her chilling performance of the scene “Hocus, Pocus.” When she prepared food to fatten up the boy, Ms. Grove dived into her pots and bowls with gusto and noticeably energetic voice and arms. Gretel realizes that the magical phrase will release her brother, after which both push the witch into the oven. The subsequent, celebratory waltz for the siblings was well choreographed in preparation for saving the remaining children, who had been held as gingerbread under the witch’s spell. Recitation now of the “Hocus, Pocus” charm restores the children’s sight, the parents appear in the forest, and the family is reunited in prayers of thanksgiving. May future productions of Humperdinck’s work succeed to this degree.