Recently in Performances
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
Semper Dowland, semper dolens (Always Dowland, always doleful) was the title chosen by John Dowland’s for one of his consort pieces and the motto that he took for himself. Twice rejected for the position of musician at the court of Queen Elizabeth, he is reputed to have been a difficult, embittered man. Melancholy songs were the fashion of the day, but Dowland clearly knew dark days of depression first hand.
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.