Recently in Performances
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
Verdi Giovanna d'Arco at Teatro alla Scala, Milan, starting the new season. Primas at La Scala are a state occasion, attended by the President of Italy and other dignitaries.
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.