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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
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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.
29 Jun 2013
Thomas Hampson Simon Boccanegra, Royal Opera House London
Thomas Hampson's first Simon Boccanegra at the Royal Opera House makes this revival of Verdi's great opera worthwhile. It's a role which suits a singer of Hampson's intelligence.
Boccanegra has been Doge of Genoa for many years. Boccanegra has survived because he thinks before he acts, and hides his feelings. Verdi doesn't write the part with florid, crowd-pleasing arias : it's not Boccanegra's style. He’s a shrewd politician who lives on constant alert, surrounded by danger. Hence the austere vocal colour, cold steel and granite. Boccanegra reveals himself in declamation, not decoration, and in ensemble where he’s not exposed..Despite his power and wealth, Boccanegra is isolated. Hampson's Boccanegra is a strong personality. He sings with dignified reserve, suggesting a man weary of the world and its intrigues. ”When he finds Amelia, the voice suddenly warms. "Figlia!" sings Hampson with genuine tenderness. You can hear the years falling away, and imagine Boccanegra as a young corsair, throwing caution aside for love. His monologue “Ah! ch’io respiri l’aura beata del libero cielo!” is created with such feeling that we realize that power has brought Boccanegra no peace. Thus he can hand the future to Amelia and Adorno without regret.
Three years ago, Plácido Domingo shrewdly chose the role as his debut as baritone because the technical demands are not great. The challenge is in the acting. Hampson doesn't have to worry about the fach, which fits him naturally. He creates the part with sensitivity, showing the Doge as man and father behind the stoic exterior.
When Hampson and Ferruccio Furlanetto sing together, the balance is superb, better than when Furlanetto sang the part with Domingo. Furlanetto sounds less youthful than he did before, which is more in keeping with the role, but remains forceful. The relationship between Boccanegra and Fiesco is perhaps even more significant than that between father and daughter. The two men have been struggling for decades. One is patrician, the other plebeian. Old authority is pitted against a new order. The power struggle gives the opera dramatic tension. Thus when Boccanegra and Fiesco are finally reconciled and sing together, the impact is profound. Hampson and Furlanetto are two titans, confronting one another and finding equilibrium.
Russell Thomas was an impressive Gabriele Adorno. Adorno is young and hot headed, as Boccanegra once was. Verdi gives him several showpiece arias, and Thomas rose to the occasion, and was heartily applauded. The audience seemed almost entirely comprised of first-time opera goers, which is heartening. He was last heard in London in March in John Adams' The Gospel according to the other Mary and in Donizetti's Belisario last October. He's no match for Joseph Calleja who sang Adorno with Domingo in 2010, but he's still young and promising.
Hibla Gerzmava made a pleasant role debut as Amelia, her voice particularly effective as the more mature Amelia in Acts II and III. Dimitri Platanias was a good Paolo Albiani, more relaxed and spontaneous than when he sang Rigoletto in 2012. Jihoon Kim made Pietro feel more than a minor character.
Although the orchestra seemed somewhat restrained at the beginning of the Prologue, it ignited, perhaps appropriately, when the citizens of Genoa proclaimed Boccanegra as Doge. Antonio Pappano is particularly good in this repertoire, capturing the fiery crowd scenes with great gusto. His command of subtle detail was even more perceptive. When Amelia sings the cavatina "come in quest'ora bruna" the childlike nature of her song is contradicted by the turbulence in the orchestra, as if Verdi is hinting of hard times ahead. When Boccanegra sings “Oh refrigerio!... la marina brezza!”, the strings oscillate eerily. Boccanegra remembers his youth, but this breeze is sinister, foretelling death. Pappano’s feel for the hidden depths in this opera manifested itself in the way he brought out the strange, wavering textures in the orchestration. Tragedy hangs on this opera like a shroud. Boccanegra's brief period of happiness with his daughter precipitates his death. Yet Verdi writes with cool-headed stoicism. Sparse textures, solo melodies, intense restraint, as strong -minded and unsentimental as the Doge himself. In Act III, the juxtaposition of wedding chorus and execution march is strikingly destabilizing. Happiness is a brief illusion, inevitably doomed.
Since this production has been revived over 100 times, it’s almost superfluous to comment, but theatre is as much part of an opera as singing. Otherwise we’d stick to concert performances. The sets, designed by Michael Yeargan are beautiful, but also astute. The marble floor resembles a chessboard. Marble is cold and unyielding, like fate, and power politics in a troubled city state is a game of strategy. Immense doors and marble columns loom over the protagonists. Special mention should be made of the lighting design, by John Harrison, where the same set can be transformed to create different scenes and moods.
This is a very painterly production, inspired by Renaissance painting and architecture. Written words appear on upright surfaces : sometimes in gold and fresco-like in Latin, sometimes roughly scrawled graffiti in Italian. Literally, “The writing is on the wall”.Yet beauty alone isn’t enough, as Verdi himself was to say of this opera. Fundamentally this isn’t a decorative opera, but an opera about extreme but repressed emotion.. The weakness lies in the direction. Physical action seems oddly lethargic and stilted. as if the parts are stepping out from a painting. It works, if you think of the production as a scene in a frame on a wall in a marble hall. When Amelia and Boccanegra recognize who they are to each other, the orchestra wells up, but the encounter is suprisingly matter of fact. Fortunately, the cast is so experienced that they can create their roles almost by instinct.