Recently in Performances
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .
29 Sep 2013
Lyric Opera of Chicago Introduces its Season
In its annual concert presented to the city at Millennium Park, Lyric Opera of Chicago introduced its 2013-14 season on a recent weekend evening with a program of selections featuring several present, past, and future stars of the company.
In this year’s concert the Lyric Opera Chorus was featured in a
variety of pieces under the direction of its new permanent chorus master,
Michael Black. After a prefatory address delivered by the company’s General
Manager Anthony Freud the evening’s performance was conducted by Ward Stare.
As a start to the program Mr. Stare led the Lyric Opera Orchestra in a
spirited performance of the overture to Béatrice et Bénédict by
Hector Berlioz. Tempos were appropriately brisk in the opening section, while
Mr. Stare showed a nice attention to legato playing in the subsequent,
slower section. Flute and horn passages were especially well controlled in
passages that led the orchestra back to its opening tempos and to an energetic
and effective conclusion.
The remainder of the first part of the concert was devoted to excerpts from
Puccini’s Madama Butterfly, which will be featured with two casts in
the upcoming season at Lyric Opera. Ana María Martínez and James Valenti sang
the parts of Cio-Cio-San and Pinkerton. As the geisha Cio-Cio-San muses while
alone on the anticipated return of her beloved Pinkerton, she imagines first
the sight of his ship on the horizon. As Ms. Martínez intoned the start of her
aria “Un bel dì” (“One fine day”) expectation built noticeably on a
rising vocal line until she declared “romba il suo salute” (“will thunder
its salute”) with an impressive forte pitch. Martínez expressed
Cio-Cio-San’s determination with her middle range focused on “non mi
pesa” (“will not weary me”), until she envisioned the approach of
Pinkerton from afar, starting as “un picciol punto” (“a tiny speck”) in
an appropriately piano vision. Hints of later tragedy were expressed
with touching innocence, as the words “celia” and “morire” (“to
“to die”) were interwoven vocally. As she identified with her
character’s unflagging faith, Martínez concluded this committed performance
with a valiant top note on “l’aspetto” (“I shall await him”). Mr.
Valenti’s aria from the final act of the opera, “Addio fiorito asil”
(“Farewell, flowery refuge”), was performed with good attention to line, a
technique which emphasized the haunting memories that would continue to plague
him. Valenti’s lower register was somewhat underused yet his high notes in
the conclusion of this brief scene (“ah, son vil” [“Oh, I am
despicable!”]) were exemplary.
The Lyric Opera Chorus performed the “Humming Chorus” from Act III of
Madama Butterfly as a fitting contribution to this first part of the
concert. The final piece from Puccini’s opera featured Martínez and Valenti
in the extended love scene from the conclusion of Act I (‘Bimba, bimba, non
piangere” [“My child, do not cry”]). Laura Wilde sang the role of Suzuki,
Cio-Cio-San’s confidante, in the opening of the scene. Once the couple is
left alone by Suzuki, the lovers’ passion seems to bloom. Perhaps because of
the distance implied in the initially shy or awkward dialogue of the
characters, the soloists here sang a convincingly emotional line toward the
close of their duet. With Valenti proclaiming at the close “Ah! Vien, sei
mia!” [“Ah, come you are mine!”]), there was no doubt that love had
indeed been awakened.
In the second part of the concert the Lyric Opera Chorus and Orchestra
performed highlights from Lohengrin, Verdi’s Otello, and
Il Trovatore. Mr. Black has clearly worked with his forces to achieve
a well-prepared ensemble. The varying ranges and effects in the Act III Prelude
and Bridal Chorus from Lohengrin were distinct yet well integrated.
Tempos were restrained in the Verdian choruses with attention to specific
orchestral details magnifying the overall impression.
The final excerpt presented was Act III, Scene 2 of Donizetti’s Lucia
di Lammermoor. Again the chorus was given the opportunity to set the tone
of ephemeral happiness, here as the guests celebrated with vocal delights the
wedding of Lucia. At the height of this joy Raimondo interrupts the
ospiti to reveal the tragedy of the bridal chamber: Lucia has stabbed
the husband she was forced to marry and lost her reason. Albina Shagimuratova
shared the stage with Evan Boyer as Lucia and Raimondo, tutor of the young
woman, with Anthony Clark Evans performing the role of Enrico, Lucia’s
brother. Mr. Boyer made a strong impression as the initial soloist. He drew on
a fully developed palette of vocal colors in order to express the conflicting
emotions in Raimondo’s mix of horror and sympathy over Lucia’s actions.
“Dalle stanze” (“From the apartments”) showed a smooth lyrical delivery
with judicious application of vibrato. Boyer’s chilling enunciation of
“insanguinato” (“blood-stained”) made of his voice a convincing witness
to the aftermath of the murderous deed. Boyer’s sense of decoration was
evident on telling lines, e.g., rising pitches on “l’ira no chiami su noi
del ciel” (“may it not call down upon us the wrath of heaven”). At
Lucia’s entrance Shagimuratova communicated immediately the sense of a woman
unhinged. Notes sung piano and diminuendo as a means to
delineate character were in evidence from the start , as she recalled hearing
the voice of her true beloved Edgardo (“nel cor discesa!” [“won my
heart!”]). Seeming happiness was declaimed on “lieto giorno” (“happy
day”), just as Shagimuratova indulged in melismatic richness on the line “A
me ti dona un dio” (“God has given you to me”). As she descended further
into a mad reverie, Shagimuratova became more ambitious in the insertion of
trills and well-chosen decoration. The conclusion was an exciting cap to the
evening with a season of vocal drama still awaiting.