Recently in Performances
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
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