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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
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
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.
30 Sep 2013
Peter Grimes, Vladimir Jurowski
Vladimir Jurowski conducted a fascinating Peter Grimes with the London Philharmonic Orchestra at the Royal Festival Hall. Fascinating, because Jurowski finds things in Britten other conductors don't get in the first place. Jurowski approaches Britten as a composer, without the usual baggage of Britishness and Brittenish.
Jurowski makes us hear Britten as a composer who knew the music of his era and had much to say about the times he lived in. Britten was not provincial though he chose to live in Aldeburgh. Peter Grimes is by no means a "heritage museum" in music even if its inspiration was an 18th century text.
Jurowski's Passacaglia and Sea Interludes reveal Britten as a composer in the wider European context: grand, majestic gestures, as Romantic in the best sense of the word, but emotionally intense with a very modern edge. Peter Grimes was Britten's first mature opera and arguably the first real British opera, so it's important to hear it in this context. Britten knew the music of his time. The orchestration is huge in comparison to Britten's later works. There are even references to American popular music, such as in the Act Three scene in the pub. Britten, who knew more about America than most Suffolk fisherfolk, was obliquely commenting on social change. For change is at the heart of Peter Grimes.
Grimes is persecuted by pious hypocrites, determined to condemn him on principle. All around Aldeburgh, there are ruined churches, destroyed by fanatics in the Reformation. Witch hunts weren't so far in the past. Whatever Grimes may or may not have done, there are those in the Borough who need an outlet for the poison in their own souls. Perhaps there are subtexts in this opera linked to Britten's sexuality, or to his relationship with the conservative music establishment (qv Gloriana) but Peter Grimes is an opera which protests blind obedience to conformity. Anniversary years like this smother genuine knowledge under a fire blanket of banal cliché. All the more reason to respect Jurowski, even though the concert was part of the South Bank's anodyne The Rest Is Noise marketing.
Stuart Skelton's Peter Grimes is a breath of fresh air. Because Grimes is inarticulate, it doesn't mean that the role should be sung with neutral colour. The clarity of Skelton's timbre suggests Grimes's intelligence. Like his apprentices, he might have been forced into his line of work without choice. Skelton sang "Now the Great Bear and Pleaides" with such elegant purity that I thought of Captain Vere, the real hero of Billy Budd. Strength, for Britten, isn't physical prowess so much as emotional integrity. Audiences might like their Britten characters safer and more comfortable, but Skelton shows where the real potential in the role might lie.
Some excellent support from Brindley Sherratt (Swallow), whose shimmy with the Nieces ((Malin Christensson and Elizabeth Cragg) was low down and dirty yet hilarious at the same time. Nice to hear levity in a bass. Alan Opie was a good Balstrode and Mark Stone a very convincing Ned Keene. If that leather jacket cost thousands, it gave him an authentic swagger. The main female roles, Ellen Orford (Pamela Armstong), Auntie (Pamela Helen Stephen), and Mrs Sedley (Jean Rigby) could have been done with more bite, but to some extent, Britten wasn't at his best creating women. Mrs Sedley, though, can benefit from being done malevolently. There's vicious camp humour in "Murder most horrid", where trombones slither like snakes. If nothing else in this anniversary year, we should learn to recognize Britten's incisive sense of humour.
Singers have to show character and interact even in semi-stagings and concert performances. If anything, good Personenregie is even more important in semi-stagings and concert performances. One of the reasons I like minimal productions is that they focus attention on the performers themselves, not on the decor. The director was Daniel Salter who directed an excellent Die Entführung aus dem Serail at Garsington Opera at Wormsley..Alex Doidge-Green's designs were excellent. The LPO were roped in, partly to shield them from the movement of the singers on a cramped stage, but also symbolically. When Skelton rolled up the rope, he released the Peter Grimes, heading towards fate.
Cast and production information:
Peter Grimes: Stuart Skelton, Ellen Orford: Pamela Armstrong, Captain Balstrode: Alan Opie, Auntie: Pamela Helen Stephen, Nieces: Malin Christensson, Elizabeth Cragg, Bob Boles: Michael Colvin, Swallow: Brindley Sherratt, Mrs Sedley: Jean Rigby,Ned Ke3ene: Mark Stone, Rev. Adams: Brian Galliford, Hobson: Joanathan Veira, London Voiuces, London Philharmomnic Orchestra, Conductor: Vladimir Jurowski, Director: Daniel Slater, Designer: Alex Doidge-Green, Lighting: Tim Mascall. Royal Festival Hall, London 28th September 2013.