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In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
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.