Recently in Performances
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
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.