Recently in Performances
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
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.