Recently in Performances
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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.