Recently in Performances
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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).
12 Feb 2013
Radamisto at Barbican Hall
Handel's Radamisto HWV 12a confirms the Barbican Hall as one of the finest places for baroque in London. Superb performances from David Daniels, Luca Pisaroni, and Patricia Bardon, with Harry Bicket conducting The English Concert from the harpsichord
Performances like this highlight the inherent drama in the music.The comparison between this Barbican Radamisto and the ENO staging in 2010 could hardly have been greater. Although unstaged, Bicket’s Barbican Radamisto was far better theatre because the drama was revealed through good singing.
Harry Bicket’s style is understated — I hate using the cliché “English” — but it works well in a medium-sized space like the Barbican. Handel’s plot may be outrageously exotic, but here the focus was on the characters as human beings, despite the implausible situations in which they find themselves. This isn’t historical drama. Most of us wouldn’t recognize first century Armenia if we tried. At heart, Radamisto is about a family and their power struggles, and the ultimate triumph of married love.
Bicket’s restraint allows the singers to demonstrate the elaborate vocal technique that Handel’s audiences would have thrilled to. Part of the drama in Radamisto is marvelling how long a singer can sustain a line, or decorate a vowel in myriad repeats. Radamisto and Tiridate are duelling with their voices: oneupmanship through trills. David Daniels was particularly effective, showing the gentle side of Radamisto . His “Cara Sposa” was tender: no wonder Zenobia adores him so. Later, when Radamisto and Zenobia duet, the chemistry between Daniels and Patricia Bardon is palpable. She was suffering from an illness, but delivered with the courage Zenobia has to endure suffering. If anything, Bardon’s determination enhanced her portrayal. Daniels sounded genuinely solicitous. The dynamic between the two singers, especially in the Act Two sequences which predicate on the emotional bond between the couple, is so deep that they can see through disguises and the convolutions in the narrative. Tiridate hasn’t a chance.
Luca Pisaroni is an exceptionally good Tiridate. He sings with great authority. He creates Tiridate as a mighty tyrant before whom all enemies quake. Except, of course, Zenobia, whose weapon is love. Pisaroni has presence as well as astounding range. In Act One, his variations on the single vowel “a” are spectacular, suggesting the arsenal he has behind him. The valveless horns of the English Concert extend his burnished tones. This is where period instruments come into their own. Do the horns suggest military glory or the hollowness of power? This subtlety would be lost with modern instruments.
Later, Pisaroni’s “Sì che ti renderai” was so beautiful that the audience rewarded him with the longest, and most genuinely spontaneous applause. Pisaroni’s expressive range shows how Tiridate, formidable as he is, is still “family”. When he sings Tiridate’s magnaminous reconciliation, it feels right, emotionally, although the act would be absurd Realpolitik. In the final scene, the elegant balance of voices suggests that this war-torn family will indeed find harmony.
Elizabeth Watts sang Tigrane. Since this is usually a trouser role, she was dressed in 18th century male costume. At the ENO Radamisto, the part was played as burlesque. A singer like Elizabeth Watts couldn’t do crude even if she tried, for her timbre is naturally lustrous and Italianate, to the extent that she is far better in dramatic repertoire than in Lieder. Tigrane is the peacemaker in this opera, not a figure of derision. Watts’s warm timbre fills out the generosity inherent in Tigrane’s personality. Brenda Rae sang Polissena and Robert Rice sang Farasmane.
Cast and production information:
Radamisto: David Daniels, Zenobia : Patrica Bardon., Tiiridate : Luca Pisaroni, Tigrane : Elizabeth Watts, Polissane : Brenda Rae, Farasmane : Robert Rice, Harry Bicket : conductor, The London Concert The Barbican Hall, London, 10th February 2013