Recently in Performances
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
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.