Recently in Performances
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.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
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.