Recently in Performances
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
12 Jun 2013
Rossini Maometto Secondo Garsington Opera at Wormsley
Rossini's Maometto Secondo is a major coup for Garsington Opera at Wormsley, confirming its status as the leading specialist Rossini house in Britain. Maometto Secondo is a masterpiece, yet rarely performed because it's formidably difficult to sing. It's a saga with some of the most intense music Rossini ever wrote, expressing a drama so powerful that one can understand why early audiences needed "happy endings" to water down its impact
Maometto Secondo has the potential to become one of the great operas in the repertoire. Richard Osborne, the Rossini scholar, describes it as the grandest of Rossini's opera seria, "epic in scale and revolutionary in the seamlessness of its musical structuring". We are fortunate that we saw it first in Britain at Wormsley.
Maometto Secondo, or Mehmet II, Fatih Sultan of the Ottomans, captured Constantinople, and ended the Byzantine Empire. This Turk was no buffo. His next ambitious plan: to conquer Rome, thereby linking Europe and Asia under Islam. Mega geopolitics. Venice was the front line because Venetians traded throughout the Eastern Mediterranean. The Ottomans posed a genuine threat to survival of the Italian region. Rossini's audiences knew that Negroponte fell and its occupants were massacred. Mehmet asnd the garrison commander, Paolo Erissso, existed, but the opera is not based on historical facts. The plot resembles La donna del lago, completed the year before. Both foreign kings in disguise are called Uberto, and both offer tokens of safety. Indeed, Rossini simply lifted the aria "Tanti affetti" from La donna del lago straight into the 1823 Venice revision of Maometto Secondo . So much for historical specificity.
It is pertinent that Rossini wrote Maometto Secondo while Naples was occupied by the Carbonari, a volatile, violent secret society dedicated to revolution. The opera bristles with danger. A confident melody suggests happy memories, but the garrison is under siege. Rossini's vocal lines tear up and down the scale, but the long, difficult runs aren't there for ornamental display. The singers are pushed to the edge, just as the characters they portray. Technically, the musicians are in control, but dotted rhythms and coloratura extremes can suggest palpitating heartbeats, or muscles on alert. Rossini doesn't let the tension subside. Erisso, Anna and Calbo sing a long terzetto which is interrupted by the sound of cannon. Suddenly, Maometto materializes, high above the melée. "Sorgete: in sì bel giorno" is cavatina as theatre.
The melody that opened Act One appears again at the beginning of Act Two. This time, the women of the harem sing of sensuous joys. Anna, having been raised strictly in "tanti affanni d'una rigida virtù" is sorely conflicted. Her idea of womanhood is defined by the image of her dead mother, lying cold in a marble tomb. She loves Uberto for what he represents but is duty bound to reject him as Maometto. The struggle between Anna and Maometto is tense because Anna comes very close to surrender. Rossini balances this by giving Calbo the Venetian an aria so stupendous that Anna's decision to marry him seems perfectly plausible. Calbo's "non terrer, d'un basso affecto" is bravura designed to demonstrate bravery.
Rossini prepares us for Anna's sacrifice by introducing a new theme with long brass chords and flurrying woodwinds. Anna's music must seem almost impossible on paper. This is coloratura on a grand scale. It is a compelling reason for using the new Hans Schellevis critical edition of the 1820 Naples original. The best-known recordings conducted by Claudio Scimone both use the 1822 edition, Rossini's sop to Venetian audiences who didn't want suicide on stage. In the original, Anna has to sing almost continously for half an hour with brief respite when she's supported by the female chorus. Each show stopping section is followed by another. It's hard to imagine going back to the compromise Venice edition after hearing Naples.
David Parry conducted with verve and passion. His musicians are dedicated and carefully chosen, but the orchestra comes together for a short period during the early summer, though perhaps the same could be said of Pesaro. Parry gets good results from his orchestra, but one wonders how much more thrilling this music would sound with a more sophisticated orchestra. He's good with voices too, inspiring commitment. On paper, this score must look almost impossible to carry off. Performances all round were good. Just getting the notes is an achievement, but these singers added personality to what they sang.
What a role for Siân Davies to make her European debut ! Her "Giusto Ciel" showed the innate colour in her voice, and the final scene showed her stamina. Paul Nilon sang Erisso. As an actor, he's more convincing than Scimone's tenors, both of whom looked too young for the part. Darren Jeffery sang Maometto with a sense of presence. Caitlin Hulcup's Calbo, however, was outstanding. She has a remarkably flexible voice, particularly lustrous in the lower register, so the extreme range in the part elides gracefully. She also moves with energy, not always a given in trouser roles. She's very experienced. As I listened, I remembered hearing her before as Arbaces in Thomas Arne's Artaxerxes at the Royal Opera House.
One day, perhaps, a larger and much wealthier house can do Rossini's Maometto Secondo full justice, and we might get Joyce DiDonato or Juan Diego Flórez.. We can but dream. Until then, we can cherish the memory of Garsington Opera at Wormsley's sterling production.