Recently in Performances
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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.