Recently in Performances
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).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.