Recently in Performances
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
25 May 2013
Baltimore Premieres Camelot Requiem
In May of 2013, the Spire Series at the First Presbyterian Church in Baltimore, Maryland, observed the fiftieth anniversary of the death of President John F. Kennedy by presenting a work dealing with the 1963 assassination.
Grief is the word that came to mind during the world premiere of composer Joshua Bornfield and librettist Caitlin Vincent’s original opera, Camelot Requiem. In May of 2013, the Spire Series at the First Presbyterian Church in Baltimore, Maryland, observed the fiftieth anniversary of the death of President John F. Kennedy by presenting a work dealing with the 1963 assassination. The librettist is the Artistic Director of The Figaro Project, a group formed to promote local artists and affordable opera. The two-act work, which incorporates a Requiem Mass, was performed with a six-piece orchestra from the Peabody Conservatory of the Johns Hopkins University School of Music was conducted by Blair Skinner. The cast, also from Peabody, included: Caitlin Vincent as Jacqueline Kennedy, Nathan Wyatt as Robert Kennedy, Alex Rosen as Lyndon Johnson, Lisa Perry as Lady Bird Johnson, Jeremy Hirsch as Dr. Burkley, Kate Jackman as Nurse Hutton, and Stephen Campbell as the Reverend Oscar L. Huber.
The opera depicted the horror of the time with a powerful musical performance punctuated with dissonance and silence. Taylor Boykins, a first year Peabody student who was at the performance, said, “The text is raw - kind of graphic.” The opening chords sent shivers down my spine when they combined with the ringing of bells and chanting. As Jacqueline Kennedy, Vincent was costumed in a bright pink suit, matching pillbox hat and bloodstained white gloves. With her dark hair and attractive demeanor, she resembled the first lady as her lush sound soared above the musical depiction of the events that took place at Parkland Memorial Hospital in Texas and the Bethesda Naval Hospital in Maryland. Bornfield had unleashed his composition on a potent libretto.
Through the thunderous performances of Wyatt as Robert F. Kennedy and Rosen as L. B. J., the audience got a glimpse of the transfer of presidential power in the midst of the nation’s emotional shock following the assassination. Andrew Posner, 20, an undergraduate composition student of at Peabody said that Bornfield’s style was unique and his orchestration fantastic. Vincent drafted the libretto in October 2011 from three poems she had written from Mrs. Kennedy’s perspective on the day of her husband’s death. She developed one of them, entitled Rose, into a melancholy aria. To obtain her material, she researched oral interviews, Lady Bird’s personal diary and condolence letters sent to Mrs. Kennedy. When operagoers arrived at the church and they were handed programs and reproductions of sympathy notes sent to Mrs. Kennedy from around the world.
While the action moved on and off the church altar, the deliberate cacophony, bursting harmonies, and the magnificent baritone voice of Wyatt as RFK convinced the audience that a “New Frontier” was imminent. Perry as Lady Bird offered relief from the tension by infusing the opera with a warm and casual 1970’s song. Conductor Skinner, a DMA candidate at the Peabody, said that when you have a piece of music that no one has heard before and ten individual voices, each of which does something individualistic, the process is grueling but the hard work makes the effort extremely rewarding. Jackman as Nurse Patricia Hutton expressed emotional intensity with the weight of her soothing mezzo-soprano voice. As Mrs. Kennedy, Vincent sang that she would like to wake up from this nightmare. Her sorrow came across to the audience when she sang that she would rather die with her Jack than live without him. The final Lux Aeterna, sung by the cast from the balcony to Mrs. Kennedy who was standing below, left audience feeling comforted by angels.
Maureen L. Mitchell