Recently in Performances
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
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.
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.
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.
Tamino (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.
Thrown 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.
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.