Recently in Performances
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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.