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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’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
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.