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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
22 May 2013
Domingo Conducts Holdridge’s New Opera Dulce Rosa
Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater.
Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater. The opera is based on Isabel Allende’s short story, Una Venganza, (An Act of Vengeance). She wrote it some thirty years ago, at a time when people were attempting to understand the Stockholm Syndrome, a psychological phenomenon that causes hostages to have positive feelings toward their captors. The opera’s heroine, Dulce Rosa, is raped by a Tadeo Cespedes, a high-ranking soldier who kept her alive during an invasion when other women were being killed. Rosa’s father was going to kill her himself, but she promised him that she would wreak vengeance on her abusers if she was allowed to live.
Eventually, she developed some affectionate feelings for Tadeo, despite her attempts to dispel them. Sometime before her ordeal she had become engaged to Tomas, a medical student who went to the United States to study. Returning after the war, he wants to marry her but she gives him back his ring. When she shows her preference for Tadeo, Tomas pulls out a gun and aims for the soldier but kills Rosa. Actually, in Allende’s original, Rosa commits suicide, but librettist and stage director Richard Sparks changed it for the opera. It is a sad story from Latin America in the 1950s, but its dramatic situations work very well onstage. Sparks did not ask the singers to do very much acting and there really could have been a great deal more action, but the story was well told and the music was delightful.
Composer Lee Holdridge has written a tonal, melodic opera with an interesting, complex orchestration. Holdridge is obviously a follower of Puccini. His music is a little bit like that of the late Daniel Catan, but with a stronger string component. Interspersed in the drama is some affecting Church music that adds solemnity and historical context, while offering a bit of respite from the drama. Most of the scenery for the production was composed of Jenny Okun’s projections which were focused on a simple arch with two upper windows designed by Yael Pardess. She projected the lush scenery of a South American spring, stained glass church windows, the devastation of war and the beginning of a post-war rebirth. Anne Militello’s lighting designs added greatly to the ambience seen on stage. Durinda Wood’s costumes were a mixture of Latin American folk dress, army uniforms, and 1950s street and formal clothing.
The most important aspect of this performance was the singing. Uruguayan soprano Maria Antúnez not only has sterling silver high notes, she also has a warm, creamy middle register. Tall and slim, she was a most believable Rosa. In truth, she is an excellent new artist whom I hope to hear in other roles as well. Greg Fedderly, whose voice seems to have grown as of late, was Rosa’s overbearing father. In Act I his tones were warm and his nature inviting. When he returned as a ghost in Act II, he was an avenging angel who even threatened his daughter. Like many starring sopranos, Rosa has a mezzo-soprano companion. Sung passionately by Peabody Southwell, Inez not only provided pleasant harmonies, but also an occasional Allende one-liner.
Warm voiced tenor, Benjamin Bliss, soon to sing Alfredo in La Traviata, was the disappointed fiancé who returns to find that his Rosa has become an entirely different person. Dark voiced Mexican baritone Alfredo Daza was the sexy bad boy who eventually won Rosa’s heart. He made Tadeo an intriguing character and probably won a few hearts in the audience as well. In the middle of war and conflict of emotions, the politician Aguilar, sung and acted most effectively by Craig Colclough, played both sides against each other and gained high office. His character was one we know all too well. Grant Gershon’s chorus was usually heard singing Holdridge’s charming Church music. Plácido Domingo conducted the moderate sized orchestra, bringing out Holdridge’s complex, nuanced melodies and the dramatic tonal language that supported Sparks’ text. Although the performances in Santa Monica are sung in English, a Spanish translation will soon be ready. Dulce Rosa is at the Broad Stage through June seventh.
Click here for cast and production information.