Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
15 Oct 2013
Fun Loving H.M.S. Pinafore Opens Arizona Opera
The star of the show was the agile Robert Orth as Sir Joseph Porter, the First Lord of the Admiralty. A fine operatic baritone, Orth’s patter was machine gun fast, crisp, and completely understandable.
Of the fourteen works that librettist William Schwenk Gilbert (1836-1911) and composer Arthur Sullivan (1842-1900) wrote together, H.M.S. Pinafore is one of the most popular. Its premiere took place on May 25, 1878, at the Opera Comique in Paris before a receptive audience. Although a summer heat wave dampened ticket sales, by September the show was playing to full houses. That same year the first unauthorized version of Gilbert and Sullivan’s Pinafore premiered in the United States and "Pinafore-Mania" began to sweep the nation. Dolls and other items based on its characters flew off store shelves while media of the time referred to lines from the show.
Approximately one hundred fifty unauthorized productions of Pinafore could be seen in the United States in 1878 and 1879, and not one of their producers paid a cent to the work’s creators. That is why the librettist and the composer boarded a steamship for New York hoping to set matters straight. When they arrived on November 6, 1879, a reporter from the New York Herald interviewed them, and one hundred and thirty-four years later, that interview is online here.
For many years afterwards Gilbert and Sullivan sued various entities in the U.S. in an attempt to establish control over their work and claim the royalties due them. They never succeeded. Pinafore opened in New York at the Fifth Avenue Theater on December 1, 1879. Unfortunately, the authorized version of the show only ran one month because most New Yorkers had already seen local productions.
Robert Orth as Sir Joseph Porter, Curt Olds as Captain Corcoran, and the Arizona Opera Chorus
On October 11, Arizona Opera open its 2013-1014 season in Phoenix with Tara Faircloth’s production of Gilbert and Sullivan’s Pinafore. As the main feature of his scenic design, Douglas Provost used a set from Tri Cities Opera of Binghamton, NY, which had various levels and compartments that allowed room for the performance of all the shenanigans a comic opera could call for. Colorful, detailed costumes from AT Jones and Sons of Baltimore set the time firmly in the latter half of the nineteenth century. The ladies wore intricate bustles, the sailors sported natty looking uniforms, and the ship’s officers were decked out with tons of gold braid. Director Tara Faircloth devised various types of comic antics for the cast but they never interfered with the singing. Every cast member had good timing and the highest ranks took the steepest pratfalls. There were titles for the sung numbers, but some of the spoken dialogue was rather fast and a bit hard to catch.
As Ralph Rackstraw, David Portillo moved well and his crème caramel lyric tenor voice rang out with passion for Josephine, his true love. Sara Gartland looked enchanting as Josephine and sang with an expanse of surging sound. Her voice was not as sweet as Portillo’s but their tones blended when they sang together. The star of the show was the agile Robert Orth as Sir Joseph Porter, the First Lord of the Admiralty, whom Josephine’s father wanted her to marry. A fine operatic baritone, Orth’s patter was machine gun fast, crisp, and completely understandable.
Mezzo-soprano Susan Nicely created a fascinating character as the lady whom Sir Joseph describes as “plump and pleasing Little Buttercup”. An excellent comedienne with an hourglass figure, she sang her part with an English contralto sound. Baritone Curt Olds has a long history of appearances in musical comedy which he put to good use in Pinafore. As the Captain, he officiated over hi-jinks galore.
Andrew Gray provided a bit of serious respite as the grumbling Dick Deadeye while the talents of two members of Arizona Opera’s young artist program, Beth Lytwynec and Calvin Griffin, added a great deal to the audience’s enjoyment. Henri Venanzi’s small chorus sang with impeccable harmonies and conductor Rob Fisher’s fast, light approach to the score elicited taught, springy rhythms from the ensemble. Arizona Opera gave its Phoenix audience a thoroughly joyous rendition of this lighthearted work.
Cast and production information:
Sir Joseph Porter, Robert Orth; Captain Corcoran, Curt Olds; Ralph Rackstraw, David Portillo; Josephine, Sara Gartland; Little Buttercup, Susan Nicely; Dick Deadeye, Andrew Gray; The Boatswain, Chris Carr; Cousin Hebe, Beth Lytwynec; The Mate, Calvin Griffin; Conductor, Rob Fisher; Director, Tara Faircloth; Chorus Master Henri Venanzi; Scenic Designer, Douglas Provost; Lighting Designer, Gary Eckhart; Costumes, AT Jones.