Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.