20 Mar 2013
I Lombardi, UC Opera London
Don’t miss UC Opera’s I Lombardi at the Bloomsbury Theatre.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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.