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.
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.