Recently in Performances
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
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.