Recently in Performances
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
12 Apr 2013
The Marriage of Figaro Ends Season at Arizona Opera
Wolfgang Amadeus Mozart's opera The Marriage of Figaro has a libretto by Lorenzo daPonte based on the French play La folle journée, ou le Mariage de Figaro (The Crazy Day or the Marriage of Figaro) by Pierre Caron de Beaumarchais (1732-1799).
The son of a watchmaker, Beaumarchais first became noticed at the French court when he made a watch with a new type of mechanism that was small enough to be mounted on a ring. Twice, he married a rich older lady who, after a short time, died in questionable circumstances. He joined the king’s secret service and took the side of the American colonists against the English. Under the name of Rodrigue Hortalez and Company, he employed a fleet of forty ships for the American cause.
During the same period of time he was writing Le Barbier de Seville (The Barber of Seville), which was staged in 1775, and Le Mariage de Figaro, which he completed in 1778. Although there were many private readings of the Figaro play in the late 1770s, most people did not see it until 1784 because of problems with king and the censors. There is a great deal of the personality of Beaumarchais in his resourceful title character. French revolutionaries, however, did not appreciate the playwright. Because of his past positions at court he was imprisoned. Later he was released, but his possessions were confiscated. He died a poor man in 1799.
On Saturday, April 6, 2013, Arizona Opera presented Mozart’s The Marriage of Figaro at Phoenix Symphony Hall. Susan Benson’s scenery, originally designed for the Banff Centre, had walls painted in the rococo style of French painter Jean-Antoine Watteau. They were a joy to behold and they meshed beautifully with Mozart’s music. Douglas Provost’s subtle lighting helped make them an important part of the show. Benson’s costumes were totally authentic, too, even to their colors and underpinnings. Kelly Robinson’s stage direction allowed the singers to establish believable characters and they made the plot easy to grasp despite its intricate twists.
Jason Hardy, who made his debut at this performance, was a secure Mozart singer with a vigorous, robust sound that matched his energetic stage presence. As Susanna, Joélle Harvey was a perfect match for him. At the end of this longest role in the repertoire, the tiny, vivacious soprano was still as fresh as a newly opened cactus flower. She even embellished some of her lines with tasteful ornaments that might well have been sung in Mozart’s time. Erin Wall was a lovelorn Countess who sang enthralling legato lines with an opulent sound palette, and she never seemed to run out of breath. Her Count, Marian Pop, was a charismatic comedian with sonorous low tones. His first act double take had the whole audience laughing. Cherubino is a character with his feet planted firmly on a cloud. Jamie Van Eyck filled the bill perfectly, singing her arias with polished tones and bringing the audience thoughts of first love.
Peter Strummer was a strong and commanding Bartolo who was all the more amusing because he took himself so seriously. He tossed off the fast patter of his aria with finesse. As Marcellina, Susan Nicely sang a thoroughly amusing duet with her supposed rival, Susanna. One can muse on what kind of a mother-in-law she would eventually become. Members of the Marion Roose Pullin Resident Artists Program sang the smaller roles. Soprano Bevin Hill was an ebullient Barbarina with a sweet clear voice. Tenor David Margulis was a stuttering Don Curzio and a nosey, self-satisfied Don Basilio. Tall, lanky Thomas Cannon hunched down and assumed a plodding gait to become Antonio, the alcoholic gardener. The part really showed his talent for characterization.
Of course, it is the conductor who holds the entire performance together and Joel Revzen kept a tight rein on all of it. His overture was on the fast side, but his overall tempi were pleasantly brisk. Most importantly, he gave the singers all the room they needed. Only on the following Monday did we learn that General Director Scott Altman had handed in his resignation. Director of Artistic Administration Ryan Taylor holds the top position until a new general director is selected.
Cast and production information:
Figaro, Jason Hardy; Susanna, Joélle Harvey; Countess Almaviva, Erin Wall; Count Almaviva, Marian Pop; Cherubino Jamie Van Eyck; Dr. Bartolo, Peter Strummer; Marcellina, Susan Nicely; Don Basilio and Don Curzio, David Margulis; Antonio, Thomas Cannon; Barbarina, Bevin Hill; Conductor, Joel Revzen; Director, Kelly Robinson; Set and Costume Design, Susan Benson; Chorus Master, Henri Venanzi, Lighting Designer, Douglas Provost.