20 Mar 2013
I Lombardi, UC Opera London
Don’t miss UC Opera’s I Lombardi at the Bloomsbury Theatre.
One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
Don’t miss UC Opera’s I Lombardi at the Bloomsbury Theatre.
I Lombardi and Nabucco are almost companion pieces, and the Royal Opera House is doing Nabucco from 30th March, on a much grander scale, for Nabucco suits grand designs.
Visually, the UC Opera I Lombardi is so striking that it would stun audiences in bigger houses with better facilities. The drama starts with a simple, dark backdrop, a monochrome tower, a bright telephone box. The impact is immediate. Verdi set I Lombardi at the time of the First Crusade to conceal its message at a time when much of Italy, once the seat of the Roman Empire, was ruled by foreign powers.This isn't really a battle between Lombardy and Antioch. The Lombards are tearing each other apart with rivalries, rather than facing their true enemies. In Verdi's time, Italy was a disunited conglomeration of small states that could not rise above petty self-interest towards a greater goal.
Although Christian themes dominate the opera, I Lombardi is not anti-Muslim as such. Oronte, the prince of Antioch, becomes a Christian without much inner anguish. One can read a nod here to Italian nationalism, since Italians dominated the church, although the Austrians, also Catholic, dominated the state in Northern Italy.Verdi must have been aware of the impact Griselda's hymn to the Virgin Mary would have on audiences. Caught up in reverence, they might, for a moment, forget the pettiness of worldly values and unite in the contemplation of more noble ideals. In the chorus "Jerusalem !", nearly everyone on stage joins in unison, transfixed by the vision before them.
This staging, designed by Will Bowen, directed by Jamie Hayes, and produced by Rosie Hughes, places the action in a land that hovers between modernity and a fading memory of the past, just as Giselda inhabits an alien land far away from her origins. Phone booths are relics. We don't communicate like that much now. This is an allusion to the theme of nostalgia that runs through the opera and fuels visions of an idealized future. The Tower is a Victorian photo of a real pub in The City of London, which you can still visit.. Once it was a tavern where cock fighting took place. It's a subtle detail but cogent. The Lombards are acting out a cock-fight on a grand scale.
Ellan Parry's costumes also follow this theme of unspecified timelessness. We could be at any time in the last century, or in the present. The men wear sharp suits, as so many Italians aspire to, but preen themselves on machismo. Without true religion, crusaders are no more than street gangs spreading their turf. At the end, chorus and remaining soloists stand together, their faces shining as they contemplate Jerusalem, at last within sight. We don't need to see a mock up. We can hear it in the orchestra and in the voices of the singers, and see it in their shining faces. Jerusalem isn't a physical place but a state of mind.
UC Opera is part professional, part amateur so the performances were good enough. Charles Peebles conducted. Katharina Blumenthal sang Griselda with firm assurance. John Mackenzie sang Pagano/the Hermit, pushing a supermarket trolley with neon cross. This was wittier than you'd expect. Pagano means "pagan", and the Hermit is an outsider, who has taken a vow of poverty. In these drab surroundings, the jewel colours of the cross shone even more brightly. Jeff Stuart sang Arvino and Adam Smith was a heroic Oronte. Sally Harrison sang Viclinda and Carola Darwin sang Sophia. Andrew Doll sang the Prior. Edward Cottell sang Pirro and Joseph Dodd was a distinctive Acciano.