Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.