Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
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.
18 Jun 2013
The Importance of Being Earnest, Covent Garden
The Importance of Being Earnest , Gerald Barry’s fifth opera, was commissioned by the Los Angeles Philharmonic Orchestra and the Barbican, and was first performed in concert, Thomas Adès conducting the London premiere.
This production marks the first London staging, though the honour of the first
staging went to Nancy’s Opéra national de Lorraine. It may be considered a
resounding success, perhaps all the more surprising given the paucity of
worthwhile comic operas. (The inability of stage directors to distinguish
between the comic and comedy as a form is one of the greatest banes of an
opera-goer’s life, but let us leave that on one side for the moment.)
Barry may have studied with Stockhausen but it is his study with Mauricio
Kagel that comes to mind here, in the work’s anarchic — though, in its
compositional control decidedly not anarchistic — irreverence. An almost
Dadaistic sensibility perhaps also brings to mind the Ligeti of Aventures
and Nouvelles aventures; smashing of plates, forty of them, must
surely offer a reference, perhaps even an hommage. Humour arises not
just from Wilde’s play and what Barry does with or to it, but also from the
interaction of ‘action’ and music, seemingly autonomous, until one has
decided that it is definitely is, at which point it tempts one to think that it
might have something in common with the text after all. Parody, for instance of
Beethoven’s Ninth Symphony, whether its opening or the ‘Ode to Joy’, and
of Auld Lang Syne, almost inevitably recalls Peter Maxwell Davies, but
I am not sure that the method is actually so very similar. For one thing, it
seems more to be the tunes themselves that in some strange sense are forming
the drama; words at times follow Auld Lang Syne rather than vice
versa, resulting in a cyclical process one might — or might not —
consider to be a parody of serialism. (I did, but I have no idea whether that
were intended.) Stravinskian motor-rhythms power the music along, until it
stops — or are they still doing so? And just occasionally, the poster-paint
aggression — or is it an affectionate parody thereof? — seems to melt into
something more tender. But is that merely wish-fulfilment on the spectator’s
part? Is the joke on the audience?
Ramin Gray’s production seems to operate in a similar or at least parallel
fashion. There are interactions, for instance when the loudspeaker music plays
from Algernon’s iPhone. And the action is cut, stopped, made to continue
according to some ticking imperative. Moments impress, stick in the memory, for
instance the case of co-ordinated tea-drinking. One begins to ask what they
‘mean’, but already knows or at least fears that one is asking the wrong
question. Surrealism, or something like it, becomes genuinely funny. Or is it
that the funny becomes genuinely surreal? Modern dress works well, banishing
any thought that period ‘absurdity’ might heighten the farce, if that be
what it is. For disjuncture, by its very nature, continues to bring us up
short. Alienation, in work and in staging, both distances and yet brings us
tantalisingly close. For, despite or even on account of the artificiality, one
senses a deep humanity lying somewhere beneath. (Perhaps like Wilde; perhaps
The Britten Sinfonia under Tim Murray proves at least an equal partner to
the madness. Brashly rhythmic, lovingly precise, this is an estimable
performance throughout from an ensemble whose versatility seems yet to extend
itself with every year. That the players are called upon to shout and to stamp
their feet almost seems expected. Paul Curievici impresses with great
musicality as Jack Worthing, or whatever we want to call him, Benedict Nelson a
bluff foil as Algie. Hilary Summers, surely as versatile an artist as the
Britten Sinfonia, makes excellent use of her contralto range and tone as Miss
Prism, with a splendidly complementary stage gawkiness. Stephanie Marshall’s
Gwendolen and Ida Falk Winland’s Cecily shine on the mezzo and soprano
fronts, the former often warmly lyrical, the latter seemingly effortless in the
aggressively higher reaches of her range. Simon Wilding’s Lane and Merriman
offer a nice hint of rebellion, nevertheless handsomely despatched. Meanwhile,
Lady Bracknell is played by a bass, not in drag but in a suitably ghastly
barrister pinstripe; Alan Ewing rises to the occasion, and somehow seems more
real than much of the chaos around him. The cast, as the cliché has it, proves
more than the sum of its parts, as is the performance as a whole, however
awkward that fitting together or clashing of those parts may be.
Cast and production information:
John Worthing: Paul Curievici; Revd Canon Chasuble: Geoffrey Dolton;
Lady Brachnell: Alan Ewing; Gwendolen Fairfax: Stephanie Marshall; Algernon
Moncrieff: Benedict Nelson; Miss Prism: Hilary Summers; Lane/Merriman: Simon
Wilding; Cecily: Ida Falk WInland. Director: Ramin Gray; Associate Designer:
Ben Clark (after an idea by Johannes Schütz); Lighting: Franz Peter David;
Costumes: Christina Cunningham. Britten Sinfonia/Tim Murray. Linbury Studio
Theatre, Royal Opera House, Covent Garden, London, Monday 17 June 2013.