Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.