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Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
22 Sep 2013
Mefistofele in San Francisco
Here is the exception. The revival of an old opera production need not always be perceived as an expedient (read cheap) solution to getting a season of opera put together, but may pass instead as an artistically thoughtful choice.
Just now San Francisco Opera has presented Arrigo Boito’s Mefistofele, in a 25 year old production by Canadian stage director Robert Carsen who was 34 years old at its premiere in Geneva in 1988. Carsen’s production, designed by Michael Levine (who was 27 years old back in 1988), is brilliantly witty. Maybe its racy titillations (bared female breasts and exposed male genitalia) were racier back in the ’80’s than they are now but they still brightly illuminate Mefistofele as one of opera’s more bizarre artifacts.
What the Carsen production did not have at its 1989 premiere in San Francisco was conductor Nicola Luisotti whose exuberant showmanship and spectacular musical making have found, finally, an opera production that is their match. It is no secret that the glories of the Luisotti pit frequently dwarf what is on the stage in San Francisco, or more often ignore the intentions of the stage, meager may they be these days. Here however the Boito, Carsen and Luisotti collaboration was one clearly envisioned in heaven.
The 1860’s were heady times in Paris and Milan, Offenbach was at the peak of his fame making fun of both love and antiquity sparing, strangely, religion. In Milan however there were a few outrageous poets (messy haired ones) who took on anything sacred to the Italians, be it personal appearance, God or Goethe. One of them (these scapigliature) was Arrigo Boito, 26 years old in 1868, who deftly extracted a few passages from the bible of bourgeois Romanticism, i.e. Goethe’s Faust and construed them to cruelly satirize nineteenth century self-fulfillment aspirations.
Patricia Racette as Margherita and Ramón Vargas as Faust
These were not modest times operatically — Verdi’s Don Carlo comes in 1867. The fully developed 19th century Italian sound was widespread as evidenced by the many composers who contributed to the Messa per Rossini (1869). A man of letters and a man of his times Boito could write music as well as librettos. The operas Mefistofele and Nerone are his musical legacy. Their style is typically Italian of the period, warmed somewhat with oltralpe sonorities (beyond the Alps means Wagnerian, a dirty word in Italy just then). It is good music.
Obviously Boito’s Mefistofele is massive, given it addresses the always important struggles of good and evil. God and the Devil confront one another, Faust is in between, Marguerite is pathetic and Helen of Troy is untouchable. Robert Carsen manages all this with enough supernumeraries to turn a village fair into a Chinese New Year of the Snake running amok in the Garden of Eden, a huge chorus of nymphs and satyrs is unleashed into an out-of-control bacchanal, and a pristine ballet revels to the beauty of classical architecture shining in an hyper elaborated harp solo. All of this overseen by a massive chorus of heavenly angels who are joined by legions of cherubim at the moments when the glory of God rises to its utmost clamor.
Needless to say everyone has a very good time, most of all maestro Luisotti who can unleash the forces of heaven themselves in massive choirs of praise as well as confront God with outright derision — those two piccolos screaming over the orchestra were only some of the whistles you heard (the fischio [whistle] is obvious derision in Italy), the rest were real. In spite of being condemned to death even poor Marguerite has a good time — her aria is one of the splendors of the soprano repertory. It was in fact an exquisite duet with the maestro, the diva in quite fine voice at the third performance.
Carsen’s indulgence of affection for Boito’s youthful escapade was sweetened by the casting of Mexican tenor Ramon Vargas as Faust. His is a voice of great beauty still most at home in the light lyric repertory (he was San Francisco’s Nemorino). At 53 years of age Vargas now takes on heavier roles, like Boito’s Faust as well as Gustavo III in Un ballo in maschera last summer at Orange. Here he sang with consummate style and musicianship, and with the maestro made a quite moving declaration of love to Helen. Nonetheless he remains a miniature tenor for the big repertory and therefore could perfectly embody a pretend Romantic hero caught up in all this fun.
Much the same can be said for the Mefistofele of Russian bass Ildar Abdrazakov. He gave a maximally effective performance, vocally and histrionically. In fact Mr. Abdrazakov was absolutely adorable as a pretend villain whose sole purpose is to give rise to lots of fortissimo music. While it surely was expedient to cast Adler Fellow Marina Harris as Helen of Troy it was not appropriate. However fine a young singer may be it is rare that an Adler Fellow may have the presence, personality and experience to hold the stage in a major role. After all, San Francisco Opera boasts that it performs on the international level. Or does it?
The Robert Carsen/Michael Levine production is huge, and hugely fun. It is a masterpiece that was well worth reviving. If you miss it just now in San Francisco you can catch it at the Met in 2015 (conductor and cast not yet announced). And, uhm, it was anything but cheap to get this production back on the stage after twenty five years of travel.
Cast and production information:
Mefistofele: Ildar Abdrazakov; Margherita: Patricia Racette; Faust: Ramón Vargas; Elena: Marina Harris; Marta: Erin Johnson; Pantalis: Renée Rapier; Wagner/Nereo: Chuanyue Wang. Chorus and Orchestra of the San Francisco Opera. Conductor: Nicola Luisotti; Production: Robert Carsen; Stage Director: Laurie Feldman; Choreographer: Alphonse Poulin; Set and Costume Design: Michael Levine; Lighting Design: Gary Marder. San Francisco War Memorial Opera House. September 14, 2013.