Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

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.

OPERA TODAY ARCHIVES »

Performances

The Queen of the Night (Erika Miklosa, top) urges Tamino (Lawrence Brownlee) to rescue her daughter. [Photo by Robert Millard]
11 Dec 2013

The Magic Flute at Los Angeles Opera: Silent Film Style

Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927.

The Magic Flute at Los Angeles Opera: Silent Film Style

A review by Maria Nockin

Above: The Queen of the Night (Erika Miklosa, top) urges Tamino (Lawrence Brownlee) to rescue her daughter.

Photos by Robert Millard

 

Los Angeles Opera's new production of Wolfgang Amadeus Mozart's The Magic Flute opened on November 23, 2013. Brought here from the Komische Oper in Berlin where it premiered last year, the production is a multimedia rendition in the style of the British theater group 1927. The concept by Suzanne Andrade, Paul Barritt, and Barrie Kosky combines opera with 1927's silent movie technique to produce a 'film noir' ambience. Throughout the evening singers interacted with the hand-drawn animation projected onto the screen to evoke the style of silent film. The use of projections instead of stick-built scenery is a growing trend among opera companies since it saves a good deal of time and money that can be used elsewhere.

Although designer Esther Bialas had to deal with the lighting from the projections, she made the singers look like their characters as they acted out the story in front of screens. Silent-film pictures with minimalist texts above Buster Keaton-styled images appeared during the opera's recitatives. Pianist Tamara Sanikidze accompanied them on an eighteenth century hammerklavier with music from Mozart's fantasias K 397 in D minor and K 475 in C minor. Her artistry was magnificent and the extra music provided an unexpected treasure.

MgF5223.gifTamino (Lawrence Brownlee, at left) and Papageno (Rodion Pogossov, at right) are sent by the Three Ladies (Hae Ji Chang, Cassandra Zoe Velasco, Peabody Southwell) to rescue Pamina.

The projected video sometimes involved nearly one thousand layers that had to be manually triggered by the stage manager so that the animation matched the conductor's tempi. Los Angeles Opera Music Director James Conlon called the concept 'an extraordinary idea and an extraordinary execution of that idea', adding that 'for LA, the birthplace of movies, it's a perfect fit'. Barrie Kosky said that the rhythm of the music and the text had an enormous influence on the animation. He and his collaborators condensed the dialogues and transformed them into silent film 'intertitles' with piano accompaniment.

After a rousing rendition of the opera's overture, the voice of Lawrence Brownlee as Tamino resonated throughout the hall as he fought a huge dragon that wanted to devour him. He sang this aria and the rest of the role with beautifully cultivated tone. The Three Ladies who really did slay the monster were Hae Ji Chang, Cassandra Zoé Velasco, and Peabody Southwell. Chang's radiant, lustrous soprano was particularly well focused. Velasco provided sumptuous harmony, but Southwell's low notes could have been stronger. Evan Boyer, the Sarastro, is a very young bass with a pleasant voice but his low tones could have been more robust. As the Queen of the Night, Erika Miklósa negotiated her phenomenally difficult arias without missing the tiniest note. Most coloratura sopranos don't sing the Queen for very long, but she has sung it for more than four hundred performances.

MgF3236.gifThrown out of Sarastro's temple, Monostatos (Rodell Rosel) teams up with the Queen of the Night's Three Ladies (left to right: Hae Ji Chang, Cassandra Zoe Velasco, Peabody Southwell).

Dressed as Nosferatu, Rodell Rosel portrayed an evil Monostatos whose amusing aria did not win him much sympathy. The tenor voice of Vladimir Dmitruk, the First Armed Man, made listeners wonder when he will sing a larger part. Philip Addis was a stentorian speaker and Valentin Anikin a secure Second Armed Man. Amanda Woodbury was a charmingly sexy Papagena and the three boys from the LA Opera Children's Chorus added a piquant note to the mix. Grant Gershon's adult chorus sang with stirring harmony in their hand-drawn, animated state. Conductor James Conlon, who regaled the audience with a delightful pre-show lecture, had a little difficulty synchronizing stage and pit in the first moments after the overture. After that, he conducted with delightfully varied tempi and rubato that brought out the lilting qualities of Mozart's music. Premieres are always fun at Los Angeles Opera and this one was the cream of the crop.

Maria Nockin


Cast and production information:

Tamino, Lawrence Brownlee; Pamina, Janai Brugger; The Queen of the Night, Erika Miklosa; Sarastro, Evan Boyer; Papageno, Rodion Pogossov; First Lady, Hae Ji Chang; Second Lady, Cassandra Zoé Velasco; Third Lady, Peabody Southwell; Monostatos, Rodell Rosel; Papagena, Amanda Woodbury; The Speaker, Phillip Addis; First Armored Man, Vladimir Dmitruk; Second Armored Man, Valentin Anikin; First Boy, Drew Pickett; Second Boy, Charles Connon; Third Boy, Jamal Jaffer; Conductor, James Conlon; Directors, Suzanne Andrade and Barrie Kosky; Animation, Paul Barritt; Concept 1927 (Suzanne Andrade and Paul Barritt) and Barrie Kosky; Scenery and Costume Designer, Esther Bialas.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):