Recently in Performances
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
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.