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
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.