Recently in Performances
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
30 Jun 2013
Bizet : Pearl Fishers, Opera Holland Park London
Bizet’s The Pearl Fishers confirms the composer’s deftness in penning a good tune and spinning a faux-Oriental orchestral fabric. But, opera is more than simply a catchy melody or two, and if it wasn’t for the tenor-baritone friendship duet ‘Au Fond du Temple Saint’, the opera’s one-dimensional characters and dramatic stiltedness would probably see it consigned to the drawer marked ‘lesser-known, justly neglected’.
Set in ancient Ceylon, among dirt-poor fisher-folk, Eugène Cormon and Michel Carré’s libretto offered Bizet an evocative exotic locale but little by way of dramatic interest or momentum.
We begin on a desolate shore, where the eponymous pearl-divers sing of the dangers and destitution which they face, praying for protection and performing ritual dances to fend off evil spirits. ‘Conflict’ is introduced when the recently re-united comrades, Zurga, the head fisherman, and Nadir, find themselves re-living an old rivalry for the beautiful virgin priestess, Leila - a rivalry that they had formerly renounced in the name of eternal brotherhood. Leila is herself torn between her sacred vows to Brahma - impressed upon her by the high priest Nourabad and which she must fulfil to ensure the fishermen’s safety - and her rekindled secular passion for Nadir. Raging jealousy leads Zurga to condemn the lovers to death, but anger is followed by remorse and finally mercy when Zurga recognises Leila, somewhat improbably, as the woman who had sheltered him when he was a fugitive. As the villagers fight to save their homes from an inferno which has engulfed them, Zurga releases the couple and urges them to flee.
Such a limp, cliché-ridden tale needs an injection of dramatic energy from its director. Oliver Platt and his designer Colin Richmond adopt a minimalist approach in this new production for Opera Holland Park, which looks pretty but generates little tension or sultry heat.
The bare stage is suffused with aquamarine light, and onto this Sri Lankan shore flood the villagers, bedecked in vibrant, multi-coloured costumes. A silky sheet billows sumptuously, serving to evoke sun, sand and, later, storm-tossed sail. It looks richly ‘authentic’; but, just as Bizet’s score somewhat disconcertingly juxtaposes a bevy of musical styles from East and West, so the fine-voiced chorus don’t quite pass as poverty-struck fishermen. Katharine Ryan’s choreography is uninspiring and at times inert; the ceremonial dances are hackneyed and in general the stage movements are rather amateur. Which is a pity as the Opera Holland Park chorus are on terrific form, vehemently ringing out their hymn ‘Brahma divin Brahma!’ to quell the storm which ends Act 2, and urgently awaiting the double execution as the dawn approaches, ‘Dès que le soleil’ in the final Act.
So much depends on the four leads and, fortunately for Platt, the soloists here tell the story clearly and with conviction. Australian baritone Grant Doyle was a characterful Zurga, establishing a powerful stage presence and alert to every dramatic gesture and detail. While not always secure at the top, Doyle sang with a credible dark tone and rich warmth, particularly in his Act 3 aria, ‘L’orage est calmé’ as both the natural tempest and his own anger quieten.
Jung Soo Yun was rather wooden initially as Nadir, but he warmed up and the South Korean tenor’s appealing lyrical brightness blended beautifully with Doyle in their renowned duet. His delicate, well-controlled falsetto was sweetly beguiling.
As the mysterious priestess Leila, Greek-Canadian soprano Soula Parassidis was befittingly glamorous, richly swathed in silks and veil, and glossily toned of voice. Combining a gleaming timbre with lightness and flexibility, Parassidis dispatched the French coloratura effortlessly, and with technical precision and assurance. Throughout she used her voice expressively, powerfully communicating character and feeling.
Making up the quartet of soloists, Keel Watson was an authoritative, imposing High Priest.
The small forces of the City of London Sinfonia summoned up a surprisingly rich array of tints and shades under the proficient baton of Matthew Waldren. The woodwind and string soloists rose admirably to their respective challenges and there was some wonderfully soft playing from the horns.
So, go along for the good tunes. The drama may lack credibility and sincerity, but the melodies delight and there is no doubting the singers’ conviction.