26 Mar 2013
Cruzar la Cara de la Luna
Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris.
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 good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris.
The matinee performance on Saturday March 16, 2013, in San Diego was the work's West Coast premiere. The title refers to the yearly migration of monarch butterflies between the United States and Mexico.
Prior to the arrival of the Spanish, the indigenous people of Mexico made music with rattles, drums, flutes, and conch-shell horns. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds which tended to replaced most of the original instruments. Native peoples learned to play and eventually to make the European instruments, which were first used only for Mass. Later the new instruments came into more general use but some of their shapes and tunings were adjusted for local use. Mexican music has evolved greatly over the intervening centuries, so it has undergone many changes. Mariachi music is thought to have developed from "Son" music, which featured guitars and harps played by part time musicians wearing huarache sandals and white clothing.
Cecilia Duarte as Renata
By the end of the nineteenth century, the traditions of European music were firmly established in Mexico and various forms of musical entertainment were written and performed by both Mexican and European artists. In rural areas, the members of local bands wore in charro outfits. Later this clothing would be worn by urban Mariachi bands, which until recently were all male. Mariachi music and the musicians who played it became more professional in the nineteen forties and fifties. Mariachi Vargas became a legend, appearing in films and accompanying stars singers. The group expanded by the addition of trumpets, violins and even a classical guitar so that they became a kind of orchestra, keeping the traditional son/mariachi base while integrating new musical ideas and styles. Mariachi Vargas traces its history from the 1890s. Generations of players have maintained the group's authenticity as a mariachi band while the music has evolved. Although the last Vargas associated with the group died in 1985, the group still considers itself the original band because the music has been passed down from one generation of musicians to the next.
Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris. The matinee performance on Saturday March 16, 2013, in San Diego was the work's West Coast premiere. The title refers to the yearly migration of monarch butterflies between the United States and Mexico. Members of families, too, migrate between the two countries and sometimes spend a great deal of time away from their loved ones. Much of the audience in San Diego's sold out Civic Theater was Mexican-American and many of the people could relate personally to the family portrayed on stage. The show opened with Brian Shircliffe as Mark singing of the butterflies and accompanying himself on the guitar. His baritone voice sounded like liquid gold and his song was the beginning of a very intense performance.
Soprano Brittany Wheeler portrayed the Americanized Diana, a member of the latter generation, who wanted to catch up with her Mexican past. Vanessa Cerda-Alonzo was Lupita, a Mexican village wife whose husband was spending most of his time away from her. Both of them sang with dramatic tones as they portrayed their important characters. Colombian tenor David Guzman was the lone high male voice in this performance and his trumpet-like sound was a good fit with the Mariachi orchestra and the lower voices of much of the cast.
Cecilia Duarte as Renata, Brittany Wheeler as Diana and Octavio Moreno as Laurentino
The most fascinating character was Renata, played by Mexican mezzo-soprano Cecilia Duarte. She sang both lyrical and dramatic songs, she also danced, and her characterization brought tears to the eyes of many in the audience. Because Renata missed her husband, she hired a guide to take her and her son to him. She told no one that she was pregnant and wanted her baby to be born in the States. Unfortunately the long walk through the desert was too hard for her and, like others before her, she died before reaching her goal. The guide took the little boy back to Mexico, but he did not see his father for many years. Duarte gave an amazing performance and I would love to see her again.
Saul Avalos was a committed Chucho; Octavio Moreno a strong voiced Laurentino, and Juan Mejia an energetic Victor. The music composed by José Pepe Martinez is sometimes dramatic and at other times lyrical with kind of a big band sound from muted trumpets. His use of the harp added welcome rhythmic textures while the text told the story clearly and with considerable detail. Foglia's scenery was practical, Cesar Galindo's costumes attractive, and the lighting by Brian Nason made the visuals most effective.
Supertitles were offered in both languages so that whether you spoke Spanish or English you always knew what was being sung. The Mariachi band was led by violinist Jose Martinez, Sr. The three trumpets were always perfectly in tune, as were the harp, vihuela, guitarron, and guitar, but there were one or two instances when the violins were not completely synchronized. It's a shame that the company was only in San Diego for one day. Let's hope they will soon be back. Before and after the opera there were performances by Mariachi bands on the plaza outside the theater and it was good to see so many excellent local groups taking part.