10 May 2013
Aida, Manitoba Opera
Poor Aida! She never seems to have anything go her way.
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 Berliner Staatskapelle.
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.
Poor Aida! She never seems to have anything go her way.
From the opening scene of Manitoba Opera’s lavish production of Verdi’s beloved four-act opera, we knew the ill-fated Ethiopian title princess (disguised as a slave) was conflicted.
Canadian soprano Michele Capalbo is the embodiment of the long-suffering Aida, in love with Radames, captain of the guard. In dramatic stance, she sang of her contradictory loves for her father, the Ethiopian king, her country and Radames. We could feel her heartbreak through the passion of her lithe singing in “Ritorna vincitor”, every note crafted to shimmering perfection. Capalbo’s ability to make the softest pianissimo note build and swell into a booming fortissimo is nothing short of extraordinary. (And she makes it seem easy.)
Aida’s love interest, Radames, played by Puerto Rican tenor Rafael Davila returns her affection, proclaiming his love eloquently in Celeste Aida, forma divina, sustaining the ultimate B-flat with impressive assurance. Davila’s robust voice is versatile, enabling him to exude the confidence of the conquering hero, yet also portray the sweet lover to the hilt. Only a slight crack in his voice as he reached for the upper register in “Pur ti riveggio, mia dolce” Aida signalled some fatigue.
Here’s where things got complicated. Aida’s employer, Amneris (Italian mezzo soprano Tiziana Carraro) daughter of the King of Egypt, also loves Radames. Amneris is determined to marry Radames, but suspects that Aida is her rival.
Carraro has a true presence onstage, with her sultry walk and strong features. Her velvety, somewhat throaty vocal quality aptly conveyed her jealous doubts. One distracting tendency, however, limited her ability to engage the audience. As she sang, she cast her eyes downward, only looking up when she stopped singing. She never looked out beseechingly for empathy; rarely looked at her singing partners, even when declaring love to Radames. This denied any real chemistry between characters.
David Watson sang the role of the King of Egypt with his customary reliability and wonderful clear diction. Tenor Terence Mierau took his brief role of messenger to heart, giving it an impassioned performance and it’s always a pleasure to hear the fine, pure voice of Winnipeg soprano Lara Ciekiewicz, resplendent here as the High Priestess.
All eyes were drawn to bass Phillip Ens as Ramfis, High Priest of Egypt in his gold-encrusted robe. He brought the requisite grandeur and authority to the role, his bold delivery and rumbling voice almost shaking the ground.
We didn’t see baritone Gregory Dahl (Amonsaro, King of Ethiopia/Aida’s father) until late in the opera, but his warm, powerful voice and commanding presence were worth the wait.
Of special note was the superbly balanced ensemble work — every individual voice distinguishable. And the tomb scene was unforgettably touching, with Capalbo and Davila pulling on the audiences’ heartstrings as they sang their final and most desperate final words.
Mounting this work boasting over 100 performers onstage was an awe-inspiring accomplishment for director Brian Deedrick and stage manager Robert Pel.
As an entertainment piece, this presentation has it all — ornate, gilded sets, Egyptian friezes and a gigantic sphinx-like head designed by Roberto Oswald, lavish costuming from Edmonton Opera, and lighting by Scott Henderson that subtly assisted us to predict the action as it shifted with the mood.
The women’s chorus in the boudoir scene sang with flowing youthfulness, while the men were all pomp and power. Athletic dancers, several from the Royal Winnipeg Ballet Aspirant Program leapt across the stage wielding knives and swords. And the Winnipeg Symphony Orchestra in the pit was in good hands with conductor Tyrone Paterson, with just a few discrepancies in tempo between singers and orchestra. Bravo to the brass section for its authentically triumphant, military majesty.
This was an impressive production of mammoth proportions superbly crafted in every detail.