Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
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.