Recently in Performances
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
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.