Recently in Performances
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
10 Feb 2013
Die Entfûhrung aus dem Serail in Montpellier
The fearsome Ottoman Turks had threatened the Austrian borders for centuries. But Mozart’s little singspiel makes light of this truly serious situation, and offers a quite enlightened resolution for the conflict as well.
Shall we say naive resolution. After all the complexly human trilogy is yet to come, and the Magic Flute will be just that — a fantasy. So let Abduction’s Pasha forgive and forget, and don’t argue with operatic idealism. This new production of Mozart’s first operatic masterpiece forgets any and all intriguing political or dramatic contexts. It merely frames this simplistic singspiel as a work of art to be admired, like a late 18th century painting in a museum.
Metteur en scène Alfredo Arias and scenographer Roberto Platé, both Argentine, used a huge gilded frame as the back drop, framing only sky because it was the ceiling of a grand old room turned on its side (the floor of the stage had some windows as did the stage ceiling). The why of this witty perspective seems to be just because.
French high fashion designer Adeline André abstracted early twentieth century shapes for the very witty costumes (Osmin, the Pasha’s chauffeur with greatly exaggerated glove cuffs, Pedrillo in a bright green shirt with a black leather bistro apron, Konstanze in light blue high 40’s design pumps as prime examples). Mozart’s six principals spent most of the time on the fore stage, sometimes wrapping themselves in the Opéra Comedie’s red velvet house curtain, sometimes in front of or behind a painted scrim that echoed the framed sky and flew in and out now and again.
Of course the staging was not nonsense any more than Mozart’s singspiel is nonsense. The 25 year-old Mozart simply exploded musically. The explosion happened in the pit. About 30 players from the Orchestre National de Montpellier formed the absolutely splendid pit ensemble, the wooden mallets on the period tympani used for this occasion defined the musical grit and edge. The pizzicato strings of Pedrillo’s Romance, in fact the whole of this extended scene, sounded with nearly boom box resonance. The architecturally magnificent 1200 seat Opéra Comédie burst with musical magnificence.
Hungarian conductor Balázs Kocsár was the musical force, never overwhelming the naive joy of Mozart’s little opera with his own or Mozart’s self importance, finding instead a rhythmic release and musical elaboration that told of the young composer’s newly found independence — from a tyrannical patron and a smothering father — and the young composer’s discovery of love — for first Aloysia and then Constanze Weber. Joyous excitement that Mo. Kocsár made flow from the pit in intense, always lyric tempos.
Vocal explosion happened on the stage when German soprano Cornelia Gôtz brought the energy and furious excitement of Mozart’s future Queen of the Night to the headstrong Konstanze, imposing her prodigious vocal technique on what is surely Mozart’s most demanding role, and making it vocally vivid and dramatically real. Mozart’s famous show stopper “Martern aller Arten” was far more than a virtuoso feat, it was gigantic emotional release.
It was sublime music making indeed when this maestro joined this soprano to discover the happiness that Mozart exudes in his first Viennese years.
Metteur en scène Arias provided dramatically abstract staging, stage movement based on musical phrase rather than story telling illustration. All movement was choreographed, an aria about or influenced by another character was always sung in the physical presence of that character. Mozart’s gigantic Act II quartet “Ach, Belmonte, Ach, mein leben” was rendered in purely formal geometric shapes, rigidly symmetrical. Choristers in the Act I finale construed themselves in a formal pattern on the stage dressed in concert blacks. Mr. Arias staged which is to say choreographed every last second of music. It was effective when it was not tiresome.
Czech bass Jan Stava made chauffeur liveried Osmin a charming, positive presence with just a hint of menace. Stage director Arias‘ choreography allowed none of the classic schtick. The young bass attacked his mindboggling "O, wie will ich triumphieren" with confident bravado and succeeded as well as anyone with its coloratura and range challenges.
American tenor Jeff Martin as Pedrillo exemplified the arbitrary casting possible in this mise en scène, musically rather than character driven. In this witty casting it was not the usual ingénu Pedrillo, Mr. Martin these days sings Wagner's Mime here and there, plus Rosenkavalier’s Valzacchi at the Bolshoi! Pedrillo’s complications to Mozart’s silly story were therefore a bit less naive and a lot less romantic and a far more structural. The same may be said of the Blonde sung by Norwegian soprano Trine Wilsberg Lund.
Mlle. Lund however did not achieve the elegant lyricism that the maestro afforded his singers, never quite capturing the beat of his lyric flow. On the other hand American tenor Wesley Rogers as Belmonte did sing musically, and nearly mastered the spirit of the stage movement. After an impressive start he seemed very tired by the third act, understandable as the vocal demands of the role are considerable.
And finally Pacha Selim exploded, as musically as if there had been music [his lines are spoken]. Swiss actor Markus Merz let it rip in hochdeutsch. There had been mercifully little dialogue, with the obvious frustration that the spoken German was not a language most of us understood. When Mr. Merz had his moment he made it compete as best he could with some of the world’s most joyful music.
Cast and Production
Konstanze: Cornelia Gôtz; Belmonte: Wesley Rogers; Blonde: Trine Wilsberg Lund; Pedrillo: Jeff Martin; Osmin: Jan Stava; Pacha Selim: Markus Merz. Chorus of the Opéra National Montpellier. Members of the Orchestra National Montpellier. Conductor: Balázs Kocsár; Mise en scène: Alfredo Arias; Scenery: Roberto Platé; Costumes: Adeline André; Lighting: Jacques Rouveyrollis. Opéra Comédie, Montpellier. February 5, 2013.