Recently in Performances
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
02 Feb 2013
Der Kaiser von Atlantis at the Staatsoper Berlin
Recent seasons have seen a surge in so-called ‘Holocaust
operas,’ from Peter Androsch’s Spiegelrund, which
premiered in Vienna last week, to Mieczysław Weinberg’s The
Passenger, unveiled with a half-century of delay in Bregenz in 2010.
topic of Nazi politics may be bone-chilling, but when written by survivors,
allows for some emotional distance and reflection. Meanwhile, history has
bequeathed us what may be considered a Holocaust opera in the true sense of the
word. The Staatsoper Berlin is currently performing Viktor Ullmann’s
Der Kaiser von Atlantis (The Emperor of Atlantis),which was penned at
the concentration camp Theresienstadt to a libretto by Peter Kien just before
the authors were transported to Auschwitz in 1944. The chamber opera premiered
in Amsterdam 31 years after their death.
Theresienstadt served as both a transit post and a kind of sham for the
extent of the SS forces’ brutality. Leo Baeck, Pavel Haas, and Gideon
Klein count among the conscripted intelligentsia at the ‘model
ghetto,’ where Ullmann was engaged as an official music critic. A
freelance musician schooled in Schönbergian composition, the Silesian native
found himself with more time to compose than ever before. His score creates a
dizzying, but organic blend of serialist passages, sardonic cabaret, and
Mahleresque harmonies while subversively weaving in melodies such as ‘Ein
feste Burg ist unser Gott’ in the final chorus. It is an at once
harrowing and uplifting setting of Kien’s libretto, which provides a
vivid depiction of the inner turmoil but resignation a prisoner found in the
end of life as he knew it.
The story in some ways calls to Ligeti’s Le Grand Macabre in
its montage-like structure and ambiguous treatment of death. A Loudspeaker
announces in the prologue that the living can no longer laugh and the dying can
no longer lament. Harlekin, better known as Arlecchino, the commedia
dell’arte stock character, is so bored that he begs Death to his
duty. But Death has decided to condemn mortals to eternal life. Kaiser Overall,
whose resemblance to Hitler prevented further rehearsals of the opera in the
summer of 1944, is informed by telephone of a plague whereby none of his
soldiers can die. Only when the war is over does Death, “the
gardener…the final lullaby,” deliver the world from pestilence.
The story further includes a drummer, a soldier and a girl named Bubbikopf.
Kyungho Kim as Harlekin | Ein Soldat, Gyula Orendt as Kaiser Overall and Alin Anca as Der Lautsprecher | Der Tod
The Staatsoper staging by Mascha Pörzgen, seen January 29 at the
company’s Werkstatt, a small wing used for new music theater,
recreates the opera’s surreal qualities while maintaining a tasteful dose
of aesthetic restraint. The roles of Death and the Loudspeaker are cast with a
single bass-baritone (the tireless Alin Anca), who is wheeled in on a
motor-driven stool before revealing the garb of terrorist-like solider. His
exchanges with the sad clown-faced Harlekin are appropriately ambivalent, while
the Drummer assumes the presence of a caricature as she walks through the scene
beating wooden spoons mid-air. Kaiser Overall is a psychotic bureaucrat who
occupies the only hollow space in an all-white set (designs by Cordelia
Matthes). The proscenium moves in closer to the audience following
Harlekin’s eerie lullaby “Schlaf, Kindlein, schlaf.”
The cast, all members of the Staatsoper’s international opera studio,
gave a tight, convincing performance despite vocal unevenness. Anca carried the
show with theatrical verve and a booming bass that at times risked being too
loud for the space. As Harlekin and the soldier in the third scene, Kyungho Kim
did not rise to the same standards of sound quality and diction but was a
moving presence. The soprano Rowan Hellier gave a stand-out performance as the
Drummer, while Narine Yeghiyan, in the role of Bubbikopf, at times sounded
strained. Gyula Orendt gave an earnest performance as the Kaiser. Felix Krieger
led an elegant reading of the score with an ensemble of the Staatskapelle,
although the musicians’ position on a landing to the side of the stage
was not always ideal acoustically (drowning out Orendt in his final aria, the
very Mahlerian ‘Von allem, was geschieht’).The unearthly final
chorus could have been drawn out with more nostalgia, while the counterpoint of
a repeated, descending violin melody gave chills down the spine.
Der Kaiser von Atlantis runs through February 9.