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On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.
While Pegida anti-refugee demonstrations have been taking place for a while
now in Dresden, there was something noble about the Semperoper with its banners
declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as
Opera houses’ neglect of Leoš Janáček remains one
of the most baffling of the many baffling aspects of the
‘repertoire’. At least three of the composer’s operas
would be perfect introductions to the art form: Jenůfa,
Katya Kabanova, or The Cunning Little Vixen would surely
hook most for life.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
08 Aug 2013
A Very Real Traviata
Conductor Leo Hussein, like many of the artists in the production, was making his debut. His take on the story was immediately ascertainable when he played parts of the overture with an earthy tone. This was Violetta’s world, where otherwise refined men wined, dined, and cavorted with the most expensive Parisian courtesans.
On Monday August 5 Santa Fe opera presented a revival of Giuseppe Verdi’s La Traviata with Brenda Rae in the title role. Since there is no curtain in Santa Fe, the entering audience saw a stage full of boxes with varying heights. Conductor Leo Hussein, like many of the artists in the production, was making his debut. His take on the story was immediately ascertainable when he played parts of the overture with an earthy tone. This was Violetta’s world, where otherwise refined men wined, dined, and cavorted with the most expensive Parisian courtesans.
The women’s costumes were colorful with extensive décolletage, tiny waists, and huge slits in their full skirts. Director Laurent Pelly acknowledged using costume design to help tell the story. Rae was a totally uninhibited Violetta who was smitten with Alfredo as she sang “Ah forsè lui” but repented her momentary lapse in an emotional “Sempre libera”. She has a good-sized voice and, except for one or two notes, her coloratura was neat and clear. Rae is a fine actress who easily communicates her feelings across the orchestra pit.
Michael Fabiano as Alfredo and Roland Wood as Giorgio Germont
Michael Fabiano sang Alfredo with innumerable gradations of dynamics and Hussein kept the orchestra’s sound level at a point where the lyric beauty of his voice could best be heard. He is a tenor whose talent promised much and in this performance he gave us even more than what was expected. Roland Wood was an officious Germont who began with a rather gruff sound, but his tone improved as he sang the part’s more lyrical moments, however. Despite the constant presence of the boxes instead of space and furnishings, Stage director Laurent Pelly and his artists succeeded telling the story in a most convincing manner.
Brenda Rae is a consummate actress who used halted phrasing and variations in dynamics to depict Violetta’s weakness. When she read Germont’s letter in the last act, she sang “è tardi” (it’s late) and dropped the mirror in her attempt to sit up. Then leaning over the bed in her distress, she looked into the fallen mirror to sing “Oh, come son mutata” (how I have changed). That brought the immediacy of her heartbreak to everyone in the theater. Verdi brought his message home by showing the stark contrast between her anguish and the cheerfulness of the masked chorus of holiday celebrants. The presence of Dale Travis as Doctor Grenvil was a bit of luxury casting. His bass-baritone voice added a great deal to the opera’s finale.
Jennifer Panara as Flora and Jonathan Michie Baron Douphol
Several of this season’s apprentices had solo roles in this performance and all of them performed well. As Flora, Jennifer Panara was a lively, party-loving member of the demi-monde. The Annina, Rebecca Witty, on the other hand was a stolid but faithful servant who would not desert Violetta in her last hours. Tenor Joseph Dennis and bass Rocky Sellars were the obsequious servants of Violetta and Flora. Bass-baritone Andre Courville was a suave Marquis d’Obigny and bass Adam Lau was an effective messenger. This rendition of La Traviata gave a good start to this week’s five opera sequence.
Cast and production information:
Violetta, Brenda Rae; Alfredo Michael, Fabiano; Germont, Roland Wood; Flora, Jennifer Panara; Marquis d'Obigny, André Courville; Gastone, Keith Jameson; Baron Douphol, Jonathan Michie; Doctor Grenvil, Dale Travis; Anina, Rebecca Witty; Conductor, Leo Hussein; Director and Costume Designer, Laurent Pelly; Scenic Design, Chantal Thomas; Lighting design, Duane Schuler; Chorus Master, Susanne Sheston.