Recently in Performances
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.