Recently in Performances
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
19 Nov 2013
Arizona Opera Presents a Fine Flying Dutchman
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
On November 15, 2013, Arizona Opera celebrated Richard Wagner’s two hundredth birthday with a new production of his first success, The Flying Dutchman (Der Fliegende Holländer). Wagner was inspired to write this opera after he fled from Riga where his creditors were hot on his trail. While conducting at the court theater there, he and his first wife, Minna, had run up huge debts. When he lost the job, there was no way he could pay. The court confiscated their passports but they escaped the debt collectors by illegally crossing the border into Prussia. There they boarded a ship for an eight-day passage to London. They encountered terrible storms and high winds which forced their sailing ship to endure a three-week rollercoaster ride as its captain sought shelter along the coast of Norway. The stormy seas made the composer think of Nordic legends, one of which was the story of the Dutchman who could only return to land once in seven years.
Later he wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of The Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.” Several of Wagner’s protagonists were men who lived outside of society. Not only does the Dutchman materialize out of the ether, so does Lohengrin. The Dutchman is a wanderer and so are Siegmund, Tannhäuser, and Wotan. The Flying Dutchman was a seminal opera for him.
This opera requires a large orchestra that would not fit in the Phoenix Symphony Hall pit. Since Arizona Opera wanted to use the full complement of musicians, the players were at the back of the stage and the action was mounted on flooring built over the orchestra pit. It brought the singers much closer to the audience and all the overtones and colors in their voices were easily heard. Director Bernard Uzan gave us a realistic interpretation of the story while Peter Dean Beck’s platforms and props made it come to life with the help of this most capable cast. Most of the scenery consisted of Douglas Provost’s visually piquant projections, which included nautical images by Gustave Doré, one of Wagner’s favorite artists. The projection seen upon entry contained portraits of Wagner and Doré.
With the stage in this arrangement, there could be no curtain, so after the overture, Daland, Raymond Aceto, strode onstage from the wings to ask the Steersman to take the next watch. Aceto has a magnificent bass sound and it was all the more evident with him in front of the orchestra. For the Steersman, Christian Reinert, it was not a good thing. He had trouble reaching his high notes and there was no orchestral cover to hide any of it.
Baritone Mark Delavan was a passionate Dutchman whose cavernous voice surged out over the audience with tonal opulence. A powerful Senta, Lori Phillips’ bright sound energized the text and made her rendition exciting. She is just beginning to emerge as a true dramatic soprano but she is already singing with a distinctively colored sound. It has been many years since a soprano brought as much exhilaration to this role as Phillips did on Saturday night.
Corey Bix was a credible Eric who would have made Senta a good husband had she not been infatuated with the Dutchman and his legend. Young artist program member, Beth Lytwynec showed her ability as a character actress with her portrayal of Senta's work supervisor, Mary, as an old woman. Her singing showed her sonorous, youthful voice, however. Henri Venanzi’s chorus was relegated to a slightly raised area behind the orchestra so they could not move about freely. Although they did perform some dance movements, they made their part clear with robust singing. Conductor Joseph Resigno's lyrical interpretation of this early Wagner score brought out its relationship to the nineteenth century operas that preceded it. His players responded with an exciting rendition that helped make this one of the best performances heard recently at Arizona Opera.
Cast and production information:
The Dutchman, Mark Delavan; Daland, Ramond Aceto; Senta, Lori Phillips; Erik, Corey BIx; Steersman, Christian Reinert; Mary, Beth Lytwynec; Director, Bernard Uzan; Conductor, Joseph Resigno; Chorus Master, Henri Venanzi; Lighting and Projection Design, Douglas Provost; Scenery and Props, Peter Dean Beck.