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One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
06 Feb 2014
Pagliacci Opens San Diego Opera's 2014 Season
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
Director Andrew Sinclair brought out all the passion and violence of its verismo story and did not allow an intermission to dilute any of its dramatic punch.
Ruggero Leoncavallo (1857-1919) grew up in a small town in Calabria and he set his opera Pagliacci in just such a place. The composer’s father was a judge and he said he got the idea for the original story on which he based his opera from one of his father’s cases. That may or may not be true because French author Catulle Mendès thought the story of the opera closely resembled his 1874 play La Femme de Tabarin in which a clown murders his wife. Leoncavallo wanted to compose a verismo opera because he had already witnessed the popularity of Pietro Mascagni's Cavalleria rusticana in 1890.
Leoncavallo knew that story would make a good opera so he used it in writing his libretto. Then he set it to dramatic music. He had been trying unsuccessfully to get one of his operas staged for years. Pagliacci turned the tide. He was able to get it performed in 1892 at the Teatro Dal Verme in Milan where it was a triumph with audience and critics alike. Only its conductor, Arturo Toscanini, found it wanting. Mendès sued Leoncavallo for plagiarism, but dropped the suit when he was accused of copying some of his works. Toscanini’s comment was easily forgotten and Pagliacci was soon on its way to worldwide popularity.
Originally titled Il pagliaccio (The Clown), the creator of the role of Tonio, Victor Maurel, asked that the name be changed to Pagliacci (Clowns) because he thought it should include more of the cast. Tonio originally sang final line, “La commedia è finita,” until Enrico Caruso began to sing it as Canio.
Adina Nitescu as Nedda, Frank Poretta as Canio and Stephen Powell as Tonio
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone. Director Andrew Sinclair brought out all the passion and violence of its verismo story and did not allow an intermission to dilute any of its dramatic punch. Scenic director John Coyne set the action in a simple out-of-doors scene with a blooming tree signifying summer in the small Italian town. Baritone Stephen Powell sang the Prologue with stunning and powerful tones. As it turned out, it was the best-sung aria of the evening.
When the curtain rose, the townspeople and circus performers were clothed in Ed Kotanen's authentic early twentieth century costumes. Traveling circus company members were setting up the well-worn platform stage and numerous benches that they carried with them from town to town. After seeming to be a straightforward character when he sang the Prologue, Tonio skulked about the stage when interacting with the other performers. He was a misfit who probably could not get work elsewhere. As Canio, Frank Poretta, was a jovial character whose main purpose was to lure an audience to the troupe’s performances. He sang with a secure, fluid line. Nedda, Canio’s unhappy trophy wife, looked forward to her tryst with her younger lover, Silvio, as she sang her aria about the freedom of the birds overhead. Adina Nitescu is a dramatic soprano and her tones were stronger and darker than the ones expected from Nedda. When Tonio tried to kiss her, Nedda grabbed a whip and beat him until he limped off harboring thoughts of a grisly revenge.
Little by little Tonio infected Canio’s mind until he lapsed into insane jealousy. For Sinclair, this was Tonio’s story, and he made sure the audience saw that the ugly clown was pulling all the strings to make the murder happen. That’s why this time it was Tonio who ended the opera with “La commedia è finita.” Joel Sorensen was a worthy Beppe and David Adam Moore a handsome, vocally sensuous Silvio. Directed by chorus Master Charles F. Prestinari, the choristers sang with delicious harmonies as they portrayed rural townspeople. Yves Abel underscored Sinclair’s dramatic tone with his brisk interpretation of Leoncavallo’s music and his orchestra responded with dramatically alert playing. This was a short but emotionally stunning performance of a well loved verismo opera.
Cast and production information:
Tonio, Stephen Powell; Canio, Frank Poretta; Beppe, Joel Sorensen; Nedda, Adina Nitescu; Silvio, David Adam Moore; Conductor, Yves Abel; Director, Andrew Sinclair; Scenic Designer, John Coyne; Costume Designer, Ed Kotanen; Lighting Designer, Michael Whitfield; Chorus Master Charles F. Prestinari.