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.
06 Feb 2013
Fille du Regiment from San Diego Opera
Born to a very poor family in 1797, Gaetano Donizetti was lucky enough to become the pupil of Johann Simone Mayr, the Maestro di Capella of his native city, who recognized his talent and made sure he received appropriate instruction.
As a young composer who came from a poor family, he had to accept
every possible commission. In 1822, he began to produce light operatic comedies
for Naples. Eventually, he began to write more serious works, but he had an
immense gift for comedy as evidenced by works such as La Fille du
Régiment (The Daughter of the Regiment), L’Elisir d’Amore
(The Elixir of Love), and Don Pasquale. In 1830, he had a major
international success in Anna Bolena. After that he was invited to
compose in other countries such as France, where the censors seemed easier to
please. In 1838 he left Naples for Paris where, two years later, he produced a
trio of successful operas to French texts, La Fille du Régiment,
Les Martyrs, and La Favorite. He also did an Italian
adaptation of La Fille for La Scala. In 1843, the first United States
performance of the opera took place in French in New Orleans.
On January 29, 2013, San Diego Opera offered La Fille du Régiment
as its first presentation of the season. Emilio Sagi’s production, originally
seen at the Teatro Comunale in Bologna, Italy, moved the time of the action
from the nineteenth century to the twentieth, just after World War II. Instead
of French soldiers in Austria, we saw American soldiers in France. Designer
Julio Galán gave us a bombed out bar for Act I, and a luxurious salon for Act
II. His costumes included many dull tan army uniforms, but there were more
interesting outfits on the nobility in the second act. Slovakian coloratura
soprano L’ubica Vargicovà who was seen in San Diego previously as Gilda in
Verdi’s Rigoletto, sang Marie. She has also sung the Queen of the
Night in Los Angeles Opera’s The Magic Flute, so Marie’s high
notes and fioritura held no terrors for her. She sang with great
precision and showed excellent comic timing.
Ewa Podleś is the Marquise de Birkenfeld
As her lover, Tonio, Stephen Costello once again showed us the warm, bright
ringing tones of his tenor voice. San Diego has heard him as Romeo and Faust,
but the role of Tonio is much more demanding than either. His virtuosic first
act aria ‘Ah, mes amis,’ is well known for its nine high Cs and Costello
hit each of them exactly in the center of the note, holding the last one with
seeming ease. Naturally, the applause was deafening. For the rest of his role
he was a charming lover who sang with exquisite lyric tones.
San Diego has heard Polish Contralto Ewa Podleś before, both in recital and
in Handel’s Giulio Cesare, but this was her first foray into comedy
there. Vocally, she showed the wide range of her color-filled contralto voice.
She was hilariously funny when, wearing a gorgeous dark red costume, she quoted
a line from Bizet’s Carmen. At the same time she brought out the
Marquise of Berkenfeld’s importance in steering the plot toward its jubilant
Opulent voiced American bass Kevin Burdette was an amusing but believable
military officer who eventually won the heart of the most demanding, but
secretly lonely, Marquise. Soprano Carol Vaness, who is doing more teaching
than singing these days, played the speaking role of the Dutchess of
Krakenthorp. It did not keep her from singing a phrase from San Diego’s next
presentation, Saint-Saëns’ Samson and Delilah, however, and that
pleased her many fans in the audience. Malcolm MacKenzie was an entertaining
Hortensio and Scott Sikon an impressive Corporal.
Kevin Burdette is Sgt. Sulpice,L'ubica Vargicová is Marie and Stephen Costello is Tonio
The opera’s chorus under the direction of Charles Prestinari moved as
individuals and maintained precise harmonies. In his San Diego Opera debut,
Maestro Yves Abel conducted with suave French style that brought out the
score’s tonal beauty. His brisk pacing that kept the tension tight. La
Fille is best known for its uniquely difficult tenor aria, but it has much
more to offer than that high wire act. It is filled with glorious music and
charming situations that can be focused to amuse a particular audience. In this
case the Act II guests, some of them major donors to the opera, were announced
as local royalty to the great amusement of many in the audience who knew them
personally. This Donizetti opera is perfection in operatic comedy and it was a
wonderful start for San Diego Opera’s 2013 season.
Cast and Production
Marie: L’ubica Vargicová; Tonio: Stephen Costello; Marquise de
Berkenfeld: Ewa Podleś; Sergeant Sulpice: Kevin Burdette; Corporal: Scott
Sikon; Hortensio: Malcolm Mackenzie; Conductor: Yves Abel; Director: Emilio
Sagi; Scenic and Costume Designer Julio Galán; Lighting Design: Marie