Company XIV’s production of Cinderella is New York City theater
at its finest. With a nod to the court of Louis the XIV and the grandiosity of
Lully’s opera theater, Company XIV manages to preserve elements of the French
Baroque while remaining totally innovative, and never—in fact, not once for
the entire two and a half hour show—falls prey to the predictable. Not one
detail is left to chance in this finely manicured yet earthily raw production
This was a concert where immense satisfaction was derived equally from the
quality of musicianship displayed and the coherence and resourcefulness of the
programme presented. In 1610, Claudio Monteverdi published his Vespro della
Beata Vergine for soloists, chorus, and orchestra.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
Great Scott is a combination of a parody of bel canto opera and an
operatic version of All About Eve. Beloved American diva Arden Scott
(Joyce DiDonato), has discovered the score to a long-lost opera “Rosa
Dolorosa, Figlia di Pompeii” and has become committed to getting the work
revived as a vehicle for her. “Rosa Dolorosa” has grand musical
moments and a hilariously absurd plot.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental
tale of suffering bohemian artists into the ‘modern urban age’, when
director David McVicar ditched the Parisian garrets and nineteenth-century
frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello
shared a line of cocaine under the grim glare of naked light bulbs and the
clientele at CaféMomus included a couple of gaudily attired
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
Queens, Heroines and Ladykillers: A Tribute to Lorraine Hunt Lieberson
It must be both a privilege and a
daunting prospect to be asked to participate in a tribute concert to the
singer, who died from breast cancer in 2006; here three mezzo-sopranos stepped
up to the honour and the challenge, joining the Orchestra of the Age of
Enlightenment - with whom Hunt Lieberson collaborated closely at Glyndebourne
and on CD - celebrating three contrasting, full-blooded female roles from
Karine Deshayes (a late replacement for the indisposed Stéphanie
D’Oustrac) began and ended the evening with Sesto’s arias, ‘L’angue
offeso mai riposa’ (The offended serpent will not rest) and ‘Svegliatevi
nel core’ from Giulio Cesare respectively. Deshayes has a vibrant
voice, particularly at the top, and she nimbly negotiated the passage work.
But, while there was undoubted rage and impassioned purpose, she didn’t quite
capture the emotional depth and range of these arias, as Sesto vows vengeance
against Ptolemy for the assassination of his father.
Thus in Sesto’s first number in the opera, there was much bite in the
repetitions of ‘Svegliatevi’ (awaken) as Sesto determines to muster the
fury in his soul. Yet, in the central section of the da capo form, as Sesto’s
thoughts turn to the father he has lost only moments before, the heaviness in
his heart outweighs his impotent anger; there is vengeance but also grief.
William Christie drew a fittingly spare timbre from the accompanying OAE, but
Deshayes did not quite match the players’ melancholy, sombre weight.
‘Figlio’ (son) needs rather more plangent emphasis, as Sesto both implores
his father and imagines his paternal words of counsel and support.
In Glyndebourne’s 2006 production of Theodora, Hunt Lieberson
took the part of Irene, the protagonist’s devoted supporter. Irene’s arias
are intense, heartfelt statements of faith as her beloved friend, Theodora, an
early Christian, is persecuted and condemned by the Romans. Reviewing the live
recording of Peter Sellars’ acclaimed production, Rupert Christiansen
commented, ‘it is impossible to conceive of this character’s arias being
sung with more grave beauty or emotional commitment than [Hunt Lieberson]
brings to them’.
Quite a tall order, then, for Anna Stéphany, performing ‘Ah! Whither
should we fly’ and ‘Lord to Thee each night and day’. Stéphany combined
vocal beauty with convincing characterisation, Christie shaping the contrasting
tempos and textures with style but without undue mannerism. A gentle firmness
characterised the voice in ‘As with rosy steps’; Stéphany’s lower
register was rich and sonorous, and she dared to adopt a whispering
pianissimo to moving effect. In ‘Lord to thee’ Stéphany
introduced a startling change of character in the second part of the aria,
‘Though convulsive rocks the ground’, which served to make the profound
devotion of the da capo repeat yet more affecting.
‘Where Shall I Fly?’ from Hercules is a tour de force
of theatrical and histrionic drama and Renata Pokupić was almost equal to its
vocal demands. As Hercules’ jealous, fiery wife, she delivered Dejanira’s
desperate self-reproaches with an impressive combination of spontaneity and
control, but her lower range sometimes lacked power and penetration, and she
didn’t quite pierce the depths of Dejanira’s subconscious mind. Pokupić
encompassed the extensive melodic range of the virtuosic ‘Dopo Notte’
(After night), from Ariodante with skill, the registers more even
here, although the syncopated rhythms which drive the music forward sometimes
lacked precision. It was, however, a fine showcase for her communicative
panache; Ariodante’s exuberant joy at being reunited with his beloved Ginevra
was compellingly and upliftingly conveyed.
The Orchestra of the Age of Enlightenment provided an animated, responsive
accompaniment to all three soloists, William Christie finding a perfect balance
of grace and power. The emphatic playing by the celli and double basses in the
overture to Giulio Cesare - perhaps encouraged by the explosive
stamp with which Christie commenced some of the instrumental numbers! - was
complemented by more reflective bass meanderings in the overture to
Theodora. In the two concerti grossi there was considerable variety of
both texture and mood, and the playing of the three soloists was crisp and
rhythmically exciting. The relationship between soloists and ripieno
was one based upon sharing and exchange, the flow seamless, the tempi
invigorating. As a closing tribute to Hunt Lieberson, Christie announced an
encore; the diverse sentiments of the ‘Musette’ from Concerto Grosso Op.6
No.6 were a perfect homage to the singer’s artistry and integrity.
Giulio Cesare - Overture; ‘L’angue offeso mai
riposa’; Theodora - ‘Ah! Whither should we fly As with rosy
steps the morn’; Concerto Grosso in B minor, Op.6 No.12; Hercules
- ‘Whither shall I fly?’; Theodora - Overture; Lord, to
‘Thee each night and day’; Ariodante - ‘Dopo notte’;
Concerto Grosso in B flat, Op.3 No.2; Giulio Cesare - Svegliatevi
nel core. Royal Festival Hall, Southbank Centre, London, Monday 3rd