Recently in Performances
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
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.