Recently in Performances
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
18 Mar 2013
Götterdämmerung at the Staatsoper Berlin
In the final of scene of Götterdämmerung in a new production at
the Staatsoper Berlin, Brünnhilde appears in a flowing pink gown just as the
music has modulated and penetrates the hall of the Gibichungs, represented by
rows of glowing translucent boxes that preserve the dismembered limbs of their
She unfastens the ring—here represented as a sequined hand—from
the arm of Siegfried’s corpse, and moves regally upstage. When video
projections of fire onto a shiny back wall cede to blue swirls of water—the
Rhine overflowing after Valhalla has burned to ash—the fading, ghostly image
of a woman with her mouth agape hovers like a virtual nightmare. A crowd of
Gibichungs, dressed in drab civil suits with touches of barbaric fur, turn
toward the back wall and stare at an image of excavated human remains. As their
expressions reveal signs of cognizance, a giant replica of the marble relief
Human Passions by Jef Lambeaux, a depiction of nude bodies writhing
somewhere between heaven and hell, descends and traps the action behind it.
As program notes by the dramaturge Michael Steinberg explain, this image has
provided a kind of Leitmotif for the Ring cycle by stage team
Guy Cassiers and Enrico Bagnoli, which has unfolded in epic fashion over the
past three years in co-production with La Scala. The opening instalment,
Das Rheingold, culminated in a video projection of the full image; in
Die Walküre, it mutates into a twisting, multi-media pile of bodies.
Cassiers, the director, has set out to address globalization in an age of
virtual reality and pornographic violence, adopting with Bagnoli a streamlined
yet abstract aesthetic. Laser-like red lines that designate warfare in
Walküre reappear as the fragile network (or destiny rope) of the
Norns in Götterdämmerung, and rows of white spears that serve as a
canvas for flickering video projections descend to drive home the notion of
While the visual symbolism of Cassiers and Bagnoli is sometimes too
conceptual to connect with its intellectual underpinnings—now a black mass
which spreads like an expressionist painting when Siegfried makes a blood oath
with Günther, now a woman who sticks her computerized tongue out at the
audience—the production scores a triumph in the use of light-dark imagery to
mirror the archetypal forces at play, underscoring the music rather than
overwhelming it with images. The restraint bordered on excessive for the
opening scene in the shadowy hall of the Gibichungs, designated by a simple
metal wall and a box of glowing limbs, and it took a moment to realize that a
group of dancers on their knees behind Siegfried represented Grane,
Brünnhilde’s horse. Yet choreography by Sidi Larbi Cherkaoui was
surprisingly effective when the bodies draped themselves in black cloth and
transformed into the Tarnhelm, the magic helmet which allows Siegfried to still
the ring from Brünnhilde. Costumes by Tim Van Steenbergen, with a modernist
take on Lederhosen for the leading Gibichungs and leather motorcycle
get-up for Siegfried, add to the dystopic vision.
Ian Storey as Siegfried and Marina Poplavskaya as Gutrune with the State Opera Chorus
If the production leans too heavily on the audience’s powers of
imagination, Daniel Barenboim, currently music director in both Berlin and
Milan, fills the vacuum with the sharpest insight into dramatic nuance. The
Staatskapelle swelled and subsided with organic ease as the score soared from
subterranean tunnels to celestial plains, mutating like the ring’s magical
forces to accommodate each singer. Irène Theorin, the cycle’s Brünnhilde in
all instalments, threatened to burst the walls of the Schiller Theater when her
seasoned Wagnerian soprano broke out from its round timbre into a screech, but
she inhabited the role of the mortalized goddess with an affecting blend of
dignity, hysteria and vengeance. In the role of Siegfried, Ian Storey, a tenor
of higher vintage than the previous installment’s Lance Ryan last fall,
struggled with a wobble in the opening scenes but warmed up to give an
indomitable performance of the hero before he is stabbed in the back by Hagen.
As the evil Gibichung, Russian bass Mikhail Petrenko was an increasingly
ominous presence, spitting out his words with villainous resolve in the
soliloquy “Hier sitz’ ich zur Wacht.”
It was a surprise to hear Marina Poplavskaja, a dramatic soprano who has
forged an international career in roles such as Desdemona and Violetta, portray
Gutrune—who drugs Siegfried with a magic potion in order to separate him from
Brünnhilde—but her voice poured out clearly above Barenboim’s sensitive
conducting and captured the Gibichung’s wicked wiles. She also gave a
pleasant account of the Second Norn. Marina Prudenskaya gave an affecting
performance as the Valykrie, Waltraute, who beseeches Brünnhilde to give back
the ring to the Rhinemaidens, and as the Third Norn. The mezzo Margarita
Nekrasova, in the role of the First Norn, did not blend easily but evoked
impending pathos with a more typically Wagnerian voice. Aga Mikolaj, Maria
Gortsevskaya, and Ann Lapkovskaja made for a seductive, youthful trio as the
Rhinemaidens. Even at the Twilight of the Gods, Cassiers’ vision ends the
cycle with the possibility for atonement. Despite the horrors the human race
has wracked upon the environment and itself, it can learn from the past and
Click here for cast and production information.