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Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
25 Apr 2013
Aida with all the Trimmings, Even a Blue Silk Elephant!
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces. The Khedive’s theater opened with Verdi’s already well-known Rigoletto, and he still did not have a work that was written specifically for Egypt. French Egyptologist Auguste-Edouard Mariette presented the ruler with a scenario for an Egyptian opera that may well have actually been written by a seasoned librettist, and Verdi was contacted. This time not only did the Khedive offer an enormous amount of money, it was also noted that the offer would go to Charles Gounod if Verdi did not accept.
Verdi could not let that happen, so he then agreed to compose the opera for 150, 000 lire. Since Verdi’s choice of a librettist would only receive 20,000 lire, the high price paid the composer becomes obvious. Although the composer would not be required to go to Cairo, he was asked send a representative to oversee the rehearsals and performance. One of the reasons he did not go to Egypt for the premiere was that the entire audience was made up of dignitaries, politicians, and critics. Verdi wrote the title role of Aida for Teresa Stolz, but she did not go to Cairo either. For her and for Verdi, the real opening night was the premiere of Aida at La Scala in Milan on February 8, 1872. Needless to say, both openings were tremendously successful.
On April 23, 2013, San Diego Opera presented Verdi’s Aida in a production originally staged by Jo Davies, but directed in this city by Andrew Sinclair. The colorful and imaginative scenic and costume design was by Zandra Rhodes and the striking wigs by Stephen Bryant. A good Aida production is a grand spectacle. This was no exception and it was truly spectacular right down to the Triumphal Scene’s blue silk elephant! This was one production in which the visual art on the stage was of the same caliber as the excellent singing of some of the world’s finest artists. The only question I had about the scenery had to do with the final scene in the dark tomb. I did not see any structure holding the couple prisoner.
Director Andrew Sinclair added some interesting bits of staging. There was a human sacrifice with some “blood” in the Temple of Vulcan, and Amonasro was stabbed before he could escape to Ethiopia. The Aida, Latonia Moore, had a large enveloping lyric voice with which she floated piannissimi seemingly at will. Her sound soared over entire ensembles and she dominated the stage with her presence. Not only is her singing a joy to hear, she can act as well and she made us feel for her plight as a prisoner of war.
As Radames, Walter Fraccaro was a strong military leader who sang with a substantial, if not really beautiful, sound. Like Moore, mezzo-soprano Jill Groves has a large voice with interesting colors and overtones. She was a haughty Amneris who completely lost her heart to Radames. She paced her singing well and her Judgment Scene was the culmination of a fine rendition of the role. Mark S. Doss is a good singer who can create a memorable character on the stage. His Amonasro was always surrounded by an aura of danger and he sang with a dark dramatic sound. Ramfis, the High Priest was a very powerful man and Reinhard Hagen commanded the stage with definitive bass notes and a strong presence.
Kenneth Heidecke’s choreography was appropriate to each of the scenes in which there was dancing. The chorus has a huge part to play in this opera and Chorus Master Charles Prestinari had several groups representing Egyptians and their Ethiopian prisoners singing Verdi’s glorious harmonies while their characters were at odds with each other. With this production, conductor Daniele Callegari made a most successful San Diego Opera debut. His tempi were brisk but never too fast. He gave the singers room to breathe and never covered their softer tones. As a result of all of these excellent artists working together, San Diego Opera patrons enjoyed a truly memorable performance of this spectacular work.
Click here for cast and production information.