Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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.