Recently in Performances
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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.