Recently in Performances
Vividly gripping drama is perhaps not phrase which you might expect to be used to refer to Bellini's I Puritani, but that was the phrase which came into my mind after seen Annilese
As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.
Benjamin Britten met Mstislav Rostropovich in 1960, in London, where the cellist was performing Shostakovich’s First Cello Concerto. They were introduced by Shostakovich who had invited Britten to share his box at the Royal Festival Hall, for this concert given by the Leningrad Symphony Orchestra. Britten’s biographer, Humphrey Carpenter reports that a few days before Britten had listened to Rostropovich on the radio and remarked that he ‘“thought this the most extraordinary ‘cello playing I’d ever heard”’.
Sir John Falstaff appears in three plays by William Shakespeare: the two Henry IV plays and The Merry Wives of Windsor.
The opening performance of the 2015-2016 season at Lyric Opera of Chicago was the premiere of a new production of Mozart’s Le nozze di Figaro under the direction of Barbara Gaines and featuring the American debut of conductor Henrik Nánási.
Opera Philadelphia mixes boutique performances of avant-garde opera in a small house with more traditional productions of warhorse operas performed in the Academy of Music, America’s oldest working opera house.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
30 Jan 2014
Puccini’s La bohème at Arizona Opera
On January 25, 2014, Arizona Opera presented Candace Evans production of Puccini’s La bohème with exciting young artists Zach Borichevsky and Corinne Winters as a romantic Rodolfo and his charming but not-so-innocent Mimì.
Giacomo Puccini and Ruggiero Leoncavallo both wrote operas based on Henri Murger’s Scènes de la Vie de Bohème, but their operas are very different. Not only does each tell different parts of Murger’s wide ranging Scènes, Puccini and his librettists, Luigi Illica and Giuseppe Giacosa, changed much of the story. For one thing, they made Mimì more faithful to Rodolfo, and thus much more acceptable to a bourgeois audience. The distribution of voices is also quite different. In the Puccini Mimì and Musetta are sopranos; Rodolfo is a tenor and Marcello a baritone. In the Leoncavallo, Mimì is a soprano, Musetta a mezzo, Rodolfo a baritone, and Marcello a tenor.
The Puccini opera starts with the men in their garret, but Leoncavallo puts the whole group in the Café Momus where they attempt to “dine and dash” because they have no money. His Act II opens on the repossession of Musetta’s property because her ex-lover is refusing to pay her debts. By Act III, Musetta, who had again taken up with Marcello, is leaving him because she is tired of poverty. She knows that Mimì is living with a nobleman and she hopes to do that too. Mimì returns to Rodolfo in the final act, but she is very ill. She dies as the bells chime for Christmas day. Although it might be fun to see the Leoncavallo opera someday, it is easy to see why Puccini’s story, even without his exquisite music, makes it the more popular work.
On January 25, 2014, Arizona Opera presented Candace Evans's production of Puccini’s La bohème with exciting young artists Zach Borichevsky and Corinne Winters as a romantic Rodolfo and his charming but not-so-innocent Mimì. Evans gave us a realistic interpretation of the libretto staged on sets by Peter Dean Beck. The first and fourth acts took place in a frigid attic room that radiated its cold out into the audience. A dual level set provided adequate space for the joyous outdoor Christmas Eve scene that formed the opera’s second act. It was a perfect background for Andrea Shokery’s grand entrance as the flirtatious Musetta. She sang her coquettish waltz song with dulcet tones, all the time trying to rekindle the interest her old lover, Marcello. When her shoe began to pinch her foot, she asked her escort, Alcindoro, to help her remove it. As he pulled off the shoe she pulled up her several skirts, to his embarrassment and the amusement of the audience.
As Marcello, baritone Daniel Teadt still loved her despite her acerbic personality, and he was happy to take her into his arms. Puccini never gave the lovesick Marcello an aria but Teadt had some beautifully lyric moments in Act III. Chris Carr was a gregarious Schaunard and Thomas Hammons made the most of his two character roles, Benoit, the ineffectual landlord, and Alcindoro, the old dandy who gave up a great deal of dignity to have a beautiful young woman on his arm. Young artist program member Calvin Griffin acquitted himself well as the intellectual Colline. Together, these artists evoked great depth of emotion with their ability to color their tones and act with their voices. Although the story of this opera is sad, Henri Venanzi’s choristers made the second act a pleasant interlude in Mimì’s inevitable decline. At the end, Rodolfo was the last to realize she has died, but when he finally did it was heartbreaking. Joel Revzen led the Arizona Opera Orchestra in a lucid reading of the score that brought out to poignancy of the story. This was a fine performance of the Puccini masterwork and the exquisite playing of the orchestra was a large part of it.
Cast and production information:
Rodolfo, Zach Borichevsky; Mimì. Corinne Winters; Musetta, Andrea Shokery; Marcello, Daniel Teadt; Collie, Calvin Griffin; Schaunard, Chris Carr; Benoit/Alcindoro, Thomas Hammons; Parpignol, Dennis Tamblyn; Conductor, Joel Revzen; Director Candace Evans; Chorus Master, Henri Venanzi; Scenic Designer, Peter Dean Beck; Costumes, A. T, Jones and Sons; Lighting, Douglas Provost.