Recently in Performances
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
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.