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Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
10 Feb 2013
Dialogues of the Carmelites in Toulon
Boasting one of France’s grandest opera houses (said to be the model for Paris’ Opéra Garnier) Toulon hosts a season of five operas — Aida, Butterfly and Flute are hand in hand with Carmen and, yes, Dialogues des carmélites.
The pit however is small for big opera, thus the baignoires (boxes) sitting just over the sides of the pit have long since been taken over by percussion. In the recent renovation of the Opéra the pit was not enlarged making it necessary to requisition additional nearby baignoires to accommodate Poulenc’s generous post Romantic orchestration — the harps coté cour (left side) and a piano coté jardin. The Opéra de Toulon was set up for a big evening.
New productions are rarely created in Toulon — this Dialogues of the Carmelites was an exception. Jean-Philippe Clarac and Olivier Deloeuil, the artistic team of some pretension that has overseen the Opéra Français de New York since 2005 were its authors. In recent years messieurs Clarac and Deloeuil have undertaken as well the stagings of large, non-operatic choral/orchestral works in important French theaters.
The techniques they have developed informed this staging of Poulenc’s Dialogues, the set more of an art installation than an integration of opera’s dramatic components. The ancien régime (or ancestral home in this abstract staging) was a Louis XIV settee in a display case, the monastery was a white, hard-edge Stonehenge configuration. Interludes were visually inhabited by huge black and white projections of nuns’ faces enclosed in Revolutionary period habits when not enlivened by the a vista intrusion of stagehands (maybe the angry mob) to modify the elements of the installation — some benches became crosses and others became general mayhem (aka Place de la Révolution).
Nadine Denize as the Prioress and Ermonela Jaho as Blanche [Photo © Yachar Valekdjie courtesy of Opéra de Toulon]
The coup de théâtre was, of course, the executions. A large white plaque descended with MORT written in straight neon lines, fifteen, uhm, make that sixteen little lines were extinguished one by one in concert with Poulenc’s hyper kitsch, not to say wonderfully effective, always moving finale. It even survived, almost, this staging. Believe it or not.
The mise en scène did offer the singers ample space and relief to portray Poulenc’s very human characters struggling to reconcile life with death, fear with principle (and the list of conflicts goes on), the humanity in Poulenc’s startling opera exponentially intensified by installing it within spiritually competitive women. The impact of Poulenc’s opera is realized by the individual performances of five nuns, each performance contributing to the complexity and therefore effectiveness of the other performances. These are complicated women.
Toulon made it part of the way with Albanian soprano Ermonela Jaho as Blanche, possessed by primal fears and questionable spirituality. No stranger to the Toulon stage (Mireille , Thais ) Mlle. Jaho is a large scale artist with a very fine instrument (thus a very big career). Blanche dominated the stage as Poulenc meant her to do, the stage having been set for her by the old Prioress Mme. de Croissy enacted by mezzo soprano Nadine Denize. The Prioress is dying, thus this cameo role is always undertaken by a magnetic singer, often retired who can gasp and hopefully emit a few good tones from time to time. Mme. Denize was appropriately magnetic, shall we say mesmerizing, and gasped with the best of them. Equally affecting was the role of Constance, the young nun whose impetuousness belied her purity, sung by French soprano Virginie Pochon.
The roles of Mère Marie de l’Incarnation and Madame Lidoine are dramatically more pointed. In fact the biggest singing of the evening is given to Mère Marie, once assumed to be the successor to the old Prioress, and who finally is the only one of the nuns who declines martyrdom making her the spiritual villain of Poulenc’s opera. The new prioress, Madame Lidoine is a simple, unassuming soul, who finally achieves emotional stature as an effective mother to her flock. Taken respectively by mezzo soprano Sophie Fournier and Spanish soprano Angeles Blancas Gulin these two roles did not contribute sufficient force of personality or voice to effectively complete the dramatic spectrum. The same may be said of the aumônier (chaplain) to the nuns sung by tenor Olivier Dumait.
Overseeing all this musically was octogenarian conductor Serge Baudo. The realization of Poulenc’s score lacked the urgency these spiritual dilemmas should provoke, and the musical energy required to keep this theater piece alive for two hours. Nor could the maestro impose sufficient control over the orchestra to assure clean entrances and cutoffs.
Cast and Production
Blanche de la Force: Ermonela Jaho; Madame de Croissy: Nadine Denize; Madame Lidoine: Angeles Blancas Guin; Le Chavalier de la Force: Stanislas de Barbeyrac; L’Aurmônier: Olivier Dumait; Le Marquis de la Force: Laurent Alvaro; Constance de Saint-Denis: Virginie Pochon; Mère Marie de l’Incarnation: Sophie Fournier; Le premier commissaire: Thomas Morris; Le second commissaire: Philippe Ermelier; Docteur Javelinot: Jean-François Verdoux; Thierry: Thierry Hanier; Mère Jeanne: Sylvia Gigliotti; Soeur Mathilde: Rosemonde Bruno La Rotonda. Chorus and Orchestra of the Opéra de Toulon. Conductor: Serge Baudo; Mise en scène & scene design: Jean-Philiippe Clarac & Olivier Deloeuil; Costumes: Thibaut Welchlin; Lighting: Rick Martin. Opéra de Toulon. January 29, 2013.