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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
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.