Recently in Performances
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’.
‘[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.
07 Nov 2013
Madama Butterfly, Chicago
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
This exposure of the individual characters, their hopes
and conflicts, requires that the performers communicate musically in the midst
of shifting narrative turns and a gamut of anguished feelings. The original
production was directed by Michael Grandage with sets and costumes by
Christopher Oram; for Chicago the production is directed by Louisa Muller.
Cio-Cio-San / Butterfly and Lieutenant B.F. Pinkerton are sung by Amanda
Echalaz and James Valenti, both making house debuts. Butterfly’s attendant
Suzuki is performed by Maryann McCormick and the American Consul Sharpless by
Christopher Purves, the latter also appearing here for the first time. The
Lyric Opera Orchestra is led by Marco Armiliato, who makes his Chicago Lyric
conducting debut with these performances.
At the start of Act One the Japanese marriage broker Goro, sung by David
Cangelosi, and Pinkerton discuss business matters relating to the house which
the protagonist has rented for his current relationship with Cio-Cio-San. When
describing both the household members in the service of the bride, and guests
who will attend the ceremony with Pinkerton, Cangelosi’s Goro is masterfully
acted and sung with obsequious gestures and with a good sense of idiomatic
delivery. Mr. Valenti’s Pinkerton seems appropriately distracted when hearing
Goro’s recitation of domestic details. Valenti’s facial expression remained
unchanged during this scene and the following exchange with Sharpless who
enters in a breathless rush to witness on site Pinkerton’s plans. Valenti’s
lyrical spirit emerges when he sings “Dovunque al mondo’ (“Everywhere in
the world”) in his soliloquy to Sharpless on the wandering and risk-taking
Yankee sailor. It is surely this attempt to stay in character, seeking pleasure
until he settles someday with a proper “sposa americana,” that explains
Valenti’s grinning stage demeanor and understated vocal line. At times both
he and Purves’s Sharpless were unfortunately challenged in their vocal
projection by overly vigorous orchestral volume.
As Cio-Cio-San enters with her companions, the excitedness of the young
women is appreciated by their host. Despite her own demure behavior vis-à-vis
Pinkerton this Butterfly is skilled at giving orders to her retinue of serving
companions. Ms. Echalaz sings with secure pitch, at first investing her line
with a noticeable amount of vibrato as a means to expressing her mix
of ardor and nervous expectation. Once her character feels more comfortable in
this conjugal setting, to which she assigns blind faith, Echalaz varies the
expression of vocal color. She describes her few treasured possessions with a
nonchalant tone for the pot of rouge, yet her description of the “cosa
sacra” (“sacred possession”) — the knife of her father’s suicide —
is pronounced with pure, unwavering focus. Once the Bonze, uncle of Cio-Cio-San
and a Buddhist priest, enters and curses her resolve, the ultimate societal and
personal isolation of the young woman has begun. As the Bonze, David Govertsen
delivered an appropriately menacing and lyrically convincing impression, while
also competing with an unyielding orchestral force. The departure of
authorities and extended family leave the protagonists alone for perhaps their
most celebrated expressive music in Puccini’s score. Valenti and Echalaz sang
this duet touchingly from his rising vocal line on “Viene la sera” (“The
night approaches”) to Butterfly’s naïve pronouncements “Ah dolce notte!
quante stelle!” (“Oh, beautiful night! So many stars!”). At times during
this first and the following acts the voices seemed muffled as though the set,
constructed of graduated panels, were absorbing some of the performers’ vocal
Amanda Echalaz as Butterfly and James Valenti as Pinkerton
Act Two of Madama Butterfly begins as an extended duet for
Cio-Cio-San and Suzuki, the latter despairing over the failure of Pinkerton to
return within three years. Ms. McCormick’s Suzuki featured some of the most
expressive dramatic singing of this performance, as she released rich, dark
pitches in her warnings of their precarious financial household. In reply
Cio-Cio-San’s famous aria “Un bel di” (“One fine day”), assuring her
faith in Pinkerton’s return, was sung with careful attention to top notes
alternating with lines sung piano for their introspective emphasis.
Sharpless interrupts this intimate scene and tries repeatedly to communicate
the contents of Pinkerton’s letter. Purves’s Counsul showed the ideal mix
of anguish and frustration in both acting and singing as he tries to broach the
topic with Butterfly. Once the cannon-shot is sounded, Butterfly is again lost
in her world of determined faith: she and her child, with Suzuki joining in
support, scatter flower petals to signal their welcome of Pinkerton.
The “Humming Chorus” performed between Acts Two and Three was subtly
audible as the central structure of the stage revolved. In the final scenes
Echalaz’s descent into renunciation of her life and child was as complete as
her earlier trajectory of hope. Pinkerton’s brief appearance and aria,
“Addio, fiorito asil,” (“Farewell, flowery refuge”) was here sung by
Valenti with the ability to integrate this vocal piece into the dramatic flow.
His brief lyrical outburst simply added in this production to the tragedy as
Madam Butterfly proceeds to the decision that she realizes is now inevitable.
Click here for cast and production information.