Recently in Performances
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
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.