Recently in Performances
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
20 May 2013
Brahms Third in San Francisco
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
It was an extraordinary evening at the opera, a perfect mise en scène (none) for San Francisco’s tyrannical maestro. The 70 member orchestra sat huddled in a black void and sang in one magnificent voice Brahms’ most lyrical symphony, its colors shining as never before, its moods of turgid Brahmsian contentment translocated into luminescent, metaphysical Latin lyricism.
It was opera, and this was understood by the audience who felt each movement as an extended aria, and unabashedly applauded each movement in unbridled appreciation of great singing. It was symphony as opera, the fifty-year-old composer spinning this famous yarn of contentment, its thematic play subsumed into joy of performance. Bel canto indeed.
The maestro can sometimes, even often be accused of imposing excessive drama, but Brahms offers him very little of it to manipulate. Thus the musical excess — and there was plenty of it — was limited to expected extreme tempo alterations and cantabile melodic exaggerations that illuminated and transfixed more than distorted an Alpine pastoral lyricism. Though it seemed a subdued Luisotti it was still a possessed Luisotti, a powerful conductor with a unique voice.
The Opera orchestra is known to be a very able ensemble, after all it performs the most difficult orchestral scores that exist. The sludgy sound of the War Memorial Opera House prevents perception of the beauty of its sound, sounds that until now we could only imagine. Though Zellerbach Hall is a dowdy acoustical space — the sound at first had a cavernous quality but once accepted it permitted the winds of the orchestra to sing with a beauty of tone reminiscent of the Vienna Philharmonic (yes, really it’s true). What the strings may lack in clarity of tone they make up in boldness, and this alone defines and qualifies this ensemble as a truly dramatic orchestra.
It was an evening of orchestral drama. Not least of which was the Nino Rota 1962 Piano Concerto in C major. Not much of Italian Fascist musical culture is around these days, but its heroic post-Romanticism certainly informed composer Rota’s musical formation and aspiration. Add this to the heady filmic creativity at mid-century Cinecitta and you have the sense of this musical relic. It challenged elegant French pianist Aldo Ciccolini at its premiere in 1987 but was a-piece-of-cake just now for 34 year-old Italian pianist Giuseppe Albanese (no relationship to Licia).
Dressed in formal wear with scarlet spats young Albanese visually startled, and then attacked the American Steinway with the confidence of a finished post-Boulez virtuoso and a highly intelligent contemporary musician. Like Luisotti pianist Albanese was possessed by the music, the mechanics of the score and its execution played out physically and intellectually in full view, or let us say a vista. It was pure theater of musical performance. Mr. Albanese is also Professor of Philosophy at the University of Messina where he teaches the “methodology of musical communication.”
The Rota concerto was Prokofiev, Rachmaninoff and Tchaikovsky but more so it was the myriad moods that composer Rota mined for films ranging from 8 1/2 to Godfather. These moods were often conversations between the piano and an instrument of the orchestra, raptly and rapturously executed in an atmosphere of absolute artistic collaboration imposed by the maestro.
The audience roared (yes, it was a vocal opera audience), and brought Albanese back for curtain calls. But two were enough for these lovers of voices. Never mind. This determined artist came back unsummoned to perform four encores — to our great pleasure! The highlights were Scriabin’s Left Hand Nocturne played with his downstage arm (the right one) hanging limply, and a version (showers of notes) of Gershwin’s song The Man I Love created by American piano virtuoso Earl Wilde.
Conductor Luisotti opened the program with Puccini’s 1883 Capriccio Sinfonico. From this early work Puccini literally recycled the flashier moments to La boheme (1896) and even Suor Angelica (1918). It served as a perfect, amusing overture to the evening.