On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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.
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: 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