Recently in Performances
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.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
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.