Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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.