Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau : Maître à danser - William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

OPERA TODAY ARCHIVES »

Performances

Photograph by Britt Olsen-Ecker
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.

Baltimore Premieres Camelot Requiem

A review by Maureen L. Mitchell

Above: Photograph by Britt Olsen-Ecker

 

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

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):