Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Threepenny Opera, London

‘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.

La bohème, LA Opera

On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.

Amazons Enchant San Francisco

On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.

Mathis der Maler, Dresden

While Pegida anti-refugee demonstrations have been taking place for a while now in Dresden, there was something noble about the Semperoper with its banners declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as examples.

The Makropulos Case, Munich

Opera houses’ neglect of Leoš Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life.

Orphée et Euridice, Seattle

It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

OPERA TODAY ARCHIVES »

Performances

Elizabeth Connell [Photo by Clive Barda]
28 Apr 2013

Elizabeth Connell Memorial Concert, St John's Smith Square

St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.

Elizabeth Connell Memorial Concert, St John's Smith Square

A review by Robert Hugill

Above: Elizabeth Connell [Photo by Clive Barda]

 

Connell was South African born, based on London for much of her career and with strong ties to Australia, so that the friends and pupils who came together at St John’s Smith Square on 27 April 2013 to celebrate her memory were many and varied.

Proceedings opened with Aivale Cole, one of Connell’s pupils, singing an unaccompanied traditional Samoan piece Lota Nu’a, a powerful and affecting way to open.

Kathryn Harries was the master of ceremonies, introducing items, reading extracts from Connell’s obituary and providing other memories as well as contributing her own solo. The first half of the concert consisted of extracts from operas which were associated with Connell. Sylvie Valayre opened things with "La luce langue" from Verdi’s Macbeth accompanied by Phillip Thomas. A highly dramatic and vivid performance, displaying Valayre’s strong, dark toned voice. The result was sometimes rather stormy and lacked the superb sense of line that I remember from Connell’s own performance of the role.

Veteran tenor Thomas Moser sang "Mein lieber Schwann" from Wagner’s Lohengrin. A very heroic yet beautiful performance, Moser singing with a fine sense of line, burnished tone and ringing top. Baritone David Wakeham contributed Nabucco’s "Dio di Giuda" from Verdi’s opera, singing with a lovely line combined with a vibrant voice and expressive phrasing. He was accompanied by Mark Packwood. Kathryn Harries sang the Kostelnicka’s "Co chvila" from Janacek’s Jenufa. The Kostelnicka was a role which Harries shared with Connell. Harries gave us an intense scena, dramatic and rather brilliant.

After readings for Connell’s obituary in the Guardian, Richard Wiegold sang King Mark’s "Wozu die Dienste ohne Zahl" from Tristan und Isolde accompanied by Stephen Rose. This was a very fine, complex and profoundly moving performance. Wiegold singing with a lovely dark, burnished voice. Tenor Stuart Skelton, with Phillip Thomas at the piano, performed Florestan’s "Gott, welch Dunkel hier" from Beethoven’s Fidelio. Skelton sang with lovely, bright ringing tones, combining power with intensity and subtlety.

The last item in the first half was a role which Connell had come to rather late, but which had become one of her core roles, Turandot. Her pupil, Elisabeth Meister, sang Turandot’s "In questa reggia". Though I never heard Connell as Turandot, Meister’s gleaming tone and superb sense of line recalled what I remember of the virtues of Connell’s singing. It was a vibrant performance, implacable yet not strident, with impressive evenness of control.

For the second half, the concert tried to encompass other aspects of Connell’s character and art, starting with her sense of humour. We opened with a remembrance of her from Peter Robinson, then Robinson and Linnhe Robinson (members of a dining club with Connell), playing the Faure / Messager Souvenirs de Bayreuth. A delightful way of including to a reference to the Ring cycle in the concert (Brunnhilde and Sieglinde being amongst Connell’s roles).

Further humour followed, with Yvonne Kenny giving a delightful performance of Gershwin’s By Strauss accompanied by Linnhe Robertson. A masterly performance with a lovely shaped line combined with a fine attention to the words.

Fiona James, who had sung Adalgisa to Connell’s Norma on tour in Australia, gave us some charming examples of Connell’s sense of humour. James went on to announce details of the Elizabeth Connell Prize. Under the terms of Elizabeth’s Connell’s will, this is to encourage and assist aspiring dramatic sopranos of the world. The final of the inaugural competition will take place in 2014 in Sydney when five singers will compete for a prize of 20,000 Au$. The Joan Sutherland and Richard Bonynge Foundation will administer the prize, and in fact Richard Bonynge was present at the concert in St John’s Smith Square.

More humour followed, with David Wakeham returning, accompanied by Mark Packwood, to give masterly performances of Tom Lehrer’s She’s my girl and I take your hand in mine, with nicely pointed words combined with a lovely line and a wonderfully deadpan manner.

Connell’s work as a recitalist was honoured in the next segment of the programme. Christine Teare and Mark Packwood gave a big-hearted performance of Richard Strauss’s Allerseelen. Morgan Pearse, accompanied by Eugene Asti, displayed an amazingly dark and vibrant baritone voice in a moving performance of Finzi’s Fear no more the head of the sun.

Penelope Randall-Davis, accompanied by Stephen Rose, gave a vibrant account of Handel’s "Ma quando tornerai" from Alcina. Jeffrey Black and Eugene Asti gave a rather operatic performance of Schubert’s Standchen. Tessa Uys, a friend of Connell’s from South Africa, gave a poetic account of Schubert’s Impromptu in G flat, D 899.

Turkish soprano Tulay Uyar is another of Connell’s pupils. She has a lovely bright toned lyric voice and gave a vividly dramatic account of "Tiger! Wetze nur die Klauen" from Mozart’s Zaide, accompanied by Richard Hetherington. Two Massenet songs came next. Tenor Julian Gavin and Linnhe Robertson in "Pensée d’automne" and Sally Silver and Eugene Asti in a lovely account of "Ivre d’amour".

Thomas Moser, accompanied by Phillip Thomas, sang "She walks in loveliness" by Ernest Charles. And the solo contributions concluded with Sally Silver accompanied by Tessa Uys singing a traditional South African lullaby "Thula Thula", a song associated with Connell’s youth.

Proceedings concluded with all the singers returning to sing the chorus "Va, pensiero" from Verdi’s Nabucco conducted by Peter Robinson with Stephen Rose at the piano. A fine conclusion to a memorable concert in memory of a fine artist.

Robert Hugill


Programme::

Elizabeth Connell Memorial Concert
Samoan Traditional: Lota Nu’u
Verdi: La Luce langue (Macbeth)
Wagner: Mein liebe Schwan (Lohengrin)
Verdi: Dio di Giuda (Nabucco)
Janacek: Co Chvila (Jenufa)
Wagner: Wozu di Dienste ohne Zahl (Tristan und Isolde)
Beethoven: Gott, welch Dunke hier (Fidelio)
Puccini: In questa reggia (Turandot)
Faure/Messager: Souvenirs de Bayreuth
Gershwin: By Strauss
Tom Lehrer: She’s my girl
Tom Lehrer: I take your hand in mine
Richard Strauss: Allerseelen
Finzi: Fear no more the heat of the sun
Handel: Ma quando tornerai (Alcina)
Schubert: Standchen
Schubert: Impromtu in G flat, D 899
Mozart: Tiger! Wetze nur di Klauen (Zaide)
Massenet: Pensee d’automne
Massenet: Ivre d’amour
Ernest Charles: She walks in loveliness
Trad: Thula Thula
Verdi: Va, pensiero, (Nabucco)

Aivale Cole (soprano)
Sylvie Valayre (soprano)
Thomas Moser (tenor)
David Wakeham (baritone)
Kathyrn Harries (soprano)
Richard Wiegold (bass)
Stuart Skelton (tenor)
Elisabeth Meister (soprano)
Yvonne Kenny (soprano)
Christine Teare (soprano)
Morgan Pearse (baritone)
Penelope Randall-Davies (soprano)
Jeffrey Black (baritone)
Tulay Uyar (soprano)
Julian Gavin (tenor)
Sally Silver (soprano)
Peter Robinson (conductor/piano)
Phillip Thomas (piano)
Mark Packwood (piano)
David Gowland (piano)
Richard Hetherington (piano)
Stephen Rose (piano)
Linnhe Robertson (piano)
Eugene Asti (piano)
Tessa Uys (piano)
St. John’s Smith Square, London
27 April 2013

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):