Recently in Performances
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
13 Jun 2013
An Evening of Zarzuela and Latin American Music at Los Angeles Opera
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra.
On June 7, the plaza of the Los Angeles Music Center was filled with the strains of Mariachi music as patrons arrived and sat down at the tables for a bite of supper before entering the theaters that surround the open space. Singers and instrumentalists came from the LA Opera Mariachi Project, Mariachi Voz de America, and the Mariachi Conservatory Ensemble Class. This being the twenty-first century, both men and women were represented in almost all categories. At 7:30 the program began inside the Dorothy Chandler Pavilion with the Opera Orchestra playing the prelude to La Verbena de la Paloma (The Festival of Our Lady of the Dove) by Tomás Bretón. The conductor for this and most of the other selections on the program was Spaniard Jordi Bernacer. Later he brought the authentic sounds of Spain to the Intermezzo from Reveriano Soutullo and Juan Vert’s La Leyenda del beso (The Legend of the Kiss).
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra. He also sang selections from Soutullo and Vert’s La del soto del parral (The vineyard) and Maravilla (Wonder). With Uruguayan soprano Maria Antunez, Domingo sang the Pasodoble from Pablo Sorozábal’s La del manojo de rosas, (The Rose Bouquet) and “ En mi tierra extremeña” (In my land Extremadura) from Federico Morena Torroba’s Luisa Fernanda. A mezzo-soprano with a smooth, dulce de leche sound, Antunez sang the Carceleras from Ruperto Chapí’s Las hijas de Zebedeo (The daughters of Zebedee) as her solo for the evening.
Domingo invited Pepe Aguilar’s Mariachi el Zacatecano to participate in this program and together they sang José Alfredo Jimenez’s Ella, which was the only selection not translated in the surtitles. However, you don’t have to know the language to appreciate great music. It just stands on its own. Joshua Guerrero, a tenor with a substantial voice from the Domingo Thornton Young Artist Program, gave a melodious rendition of “De este apacible rincón de Madrid” (From this peaceful corner of Madrid), another aria from Luisa Fernanda. After the intermission, he sang “La roca fria del Calvario” (The cold rock of Calvary) from José Serrano’s La Dolorosa with a great deal of passion and fire. His is a voice we will want to hear soon again.
Former Domingo Thornton Program member, Met Auditions, and Operalia winner Janai Brugger sang another selection from La del manojo de rosas, “No corte más que una rosa” (Don’t cut more than one rose) with sterling silver tones. Hers is a truly beautiful soprano. She looked vivacious in her bright red silk gown when she rendered another solo, the rousing “De España vengo” (I come from Spain) from Pablo Luna’s El niño judio. (The Jewish boy) An expressive artist from whom we can expect a major career, she sang duets with both Domingo and Guerrero.
Domingo also brought two singers from Spain: coloratura soprano Auxiliadora Toledano and tenor Antonio Vázquez. Toledano sang the aria “Me llaman la primorosa” (They call me the exquisite) from El Barbero de Sevilla, a zarzuela by Gerónimo Giménez and Miguel Nieto. She had an authentic coloratura timbre, but unfortunately, no trill. Vásquez sang one of the best-known Zarzuela arias, “No puede ser” (It cannot be), from Sorozábal’s La Tabernera del Puerto (The port tavern keeper) with wonderfully authentic style but a smaller voice than we would have heard from Maestro Domingo, who conducted that single piece.
The applause at the end of the program rolled across the auditorium like thunder and you knew that this audience would not go home without encores. Brugger sang an aria from Gonzalo Roig’s zarzuela, Cecilia Valdez and Antunez sang the Romanza from Ernesto Lecuona’s Maria la O. The most interesting new singer that evening was Joshua Guerrero who finished his appearance with Mexican composer Maria Grever’s song, Jurame (Promise me). Domingo topped the evening off singing Consuelo Velázquez’s Béssame Mucho (Kiss me a lot) with the audience joining him, and a final song that always fits his voice perfectly, Agustín Lara’s Granada.