Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.