Recently in Performances
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at
the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
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.