Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

OPERA TODAY ARCHIVES »

Performances

Verdi standing
10 Jul 2013

Macbeth, Blackheath Halls

Since its inception in 2006, the annual community opera at Blackheath Halls has become a favourite fixture in the local summer calendar.

Macbeth, Blackheath Halls

A review by Claire Seymour

Above: Verdi standing

 

Children from nearby primary schools, avid amateur singers and actors from the local community and the instrumentalists of the Blackheath Halls Orchestra are joined by a cast of stellar professionals and young soloists from Trinity Laban Conservatoire of Music and Dance; the standards reached are remarkably high and the experience, for performers and audience, alike richly rewarding.

Previous years have seen the community ensemble adopt the guise of Spanish bandits (Carmen, 2007), Parisian freethinkers (La Bohème, 2008), pastoral nymphs (Orpheus and Eurydice, 2009) and Russian serfs (Eugene Onegin, 2011). This year it was all witchery and warfare, as director Christopher Rolls unveiled a fast-paced, thrilling production of Verdi’s Macbeth, transferring Shakespeare’s tragic drama of self-destructive deceit and ambition to the Machiavellian manoeuvrings of a modern-day battlefield and banquet room.

This was an effective shift - and presumably shrewd financially too, cutting down considerably on the chorus’s costume costs. Similarly, electing for a ‘Gothic minimalist’ approach to the staging allowed the well-known story - played in the round - to unfold directly and without distraction. A deep darkness embraced the Hall, creating an apt sense of intimacy; the crimson velvet of the stage curtain, illuminated now and then by beams of blood-red light (Lighting Designer, Mark Howland), intimated the violent evil at the heart of the drama.

In the centre of the black-carpeted floor stood a circular raised dais (Designer Oliver Townsend), which would later become the platform for a series of murders and deaths, the visual repetitions suggesting an unbreakable pattern of betrayal and violence.

Throughout, the community chorus was in fine voice: confident, alert and well-coordinated, they had clearly been well-drilled by the director, his assistant Natalie Katsou and Musical Director, Nicholas Jenkins. If the white-draped witches initially lacked a little menace and bite, the war-worn combatants were convincingly wrecked and weary from their military exertions, and the banqueting aristocrats, celebrating their new leader’s prowess and good fortune sang with a gleam which matched their glossy black ball-gowns.

Quentin Hayes was a tense, introverted Macbeth; compact of physique, he prowled the floor first with proud majesty, then suspicious apprehension. Dark of tone, his baritone swelled impressively at moments of intense anger and despair. Miriam Murphy was his ruthless Queen, and she brought all her experience of the role to bear (she has previously sung Lady Macbeth at Opera Holland Park and the Royal Opera House), presenting a focused, controlled study of callous calculation and mental disintegration. Powerful but never strident, Murphy negotiated the wide-ranging compass with ease, displaying an even focus across the registers. At the top she was potent and incisive, conveying the persuasive confidence of Lady Macbeth; in the lower depths she revealed an appealing smoky timbre which hinted at inner emotions kept in check by a rigid self-will.

Matthew Rose was a superb Banquo, serious and sincere. Convincingly destroyed by disillusionment as Macbeth’s malicious scheme unfolded, Rose’s final aria was troubling and moving. Susanna Buckle (Lady-in-Waiting) and Simon Dyer (Doctor) provided a sensitive commentary during the somnambulant Queen’s disintegration, while Thomas Drew was a vibrant, positive Malcolm. All three have been or are students at Trinity Laban, where Rose will himself become a visiting teacher later this year.

Making up the strong cast were Charne Rochford, a clear, ringing Macduff, and Tony Brewer as King Duncan. Assaulted off-stage, this King surprised his alarmed subjects, appearing blood-soaked upon on the stage before staggering the length of the Hall to collapse in death throes upon the dais at the end of Act 1. Unfortunately, this necessitated a ‘resurrection’, and his subsequent slow walk from the auditorium was one of the few moments when the mood of sombre intensity slipped.

Nicholas Jenkins led his players through a rousing reading of the score and gave constant encouragement and clear direction to the entire cast. If the intonation wasn’t always spot on, then the summer heat and crowded venue were probably partly to blame. The small string forces were sometimes overwhelmed, but played with precision; and there were some lovely solos from clarinet, bassoon and piccolo.

This community project was launched by General Manager, Keith Murray, and is driven by the passion and invention of Rose Ballantyne. In this ‘age of austerity’, such ventures are undoubtedly a long way down funding bodies’ list of priorities, and it takes considerable energy and commitment to get a project like this off the ground, let alone to attain such tremendous standards of professionalism year upon year. For the members of the adult and children’s choruses, the experience will have been immensely edifying and invigorating, and perhaps for some, life-changing. No doubt, they are already looking forward to next year.

Claire Seymour


Cast and production information:

Macbeth: Quentin Hayes; Lady Macbeth: Miriam Murphy; Banquo: Matthew Rose; Macduff: Charne Rochford; Malcolm: Thomas Drew; Lad-in-Waiting: Susanna Buckle; Doctor: Simon Dyer; Servant: Andrew Crozier; Assassin: David Calpan; Herald: George Lusty; King Duncan: Tony Brewer; Director: Christophe Rolls; Designer: Oliver Townsend; Musical Director: Nicholas Jenkins; Halls Chorus and Orchestra. Blackheath Halls Opera, London, Tuesday, 9th July 2013.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):