Recently in Performances
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.
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’.
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.