Recently in Performances
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences
Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".
19 Mar 2014
San Diego Opera Presents an All Star Ballo in Maschera
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
In 1857, the Teatro San Carlo in Naples commissioned Giuseppe Verdi to write an opera. He first intended the work to be his King Lear, but that could not be ready in time for the 1858 Carnival Season. Later, he and his librettist Antonio Somma decided to base an Italian opera on Eugène Scribe’s French libretto for Daniel Auber's Gustave III, ou Le bal masqué. Scribe wrote about the 1792 assassination of King Gustav III of Sweden who was shot while attending a masked ball. Censors in Italy, however, had serious objections. Verdi and Somma made changes, only to be refused a second time. In his libretto, Scribe had kept the historical figures of Gustav and the fortune-teller, but added the character of Amelia and her romance with the king.
On January 14, 1858, several Italians attempted to assassinate Emperor Napoleon III in Paris. After that, censors absolutely forbade the opera to show the murder of a monarch. They told Verdi and Somma to make further changes. Verdi was so angry that he broke his contract. The management of San Carlo sued him and he countersued. After some months, when the legal issues were resolved, Verdi was free to present the libretto and musical outline of the work to the Rome Opera. Since censors demanded further changes, they moved the site of the action to Boston during the British colonial period.
Tenor Piotr Beczala (Gustav III) and mezzo-soprano Stephanie Blythe (Madame Arvidson).
On February 17, 1859, The Teatro Apollo in Rome premiered Un ballo in maschera (A Masked Ball). Not until the twentieth century was the site of the action moved back to Sweden. Now the baritone is called Count Anckarström after the actual killer who was beheaded for his crime.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. She used wonderfully ornate older scenery that formed an excellent background for John Conklin’s soft colored costumes and Gary Marder’s well-planned lighting designs. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden. It’s a long role and there were a few rough-edged tones in his first aria, but after that he gave a radiant performance. His duet with Krassimira Stoyanova, the Amelia, and his final aria were superbly sung. Stoyanova's lustrous voice blended well with Beczala's and she gave an insightful portrayal of his troubled but innocent love interest.
Greek baritone Aris Argiris is new to San Diego. With his performance of Count Anckarström, he established himself as a fine singing actor with a stentorian voice and a commanding presence. His scene with Amelia made sparks fly across the orchestra pit. Stephanie Blythe has an incredible voice with a distinctive sound and a huge range of tone colors, all of which she used as Madame Arvidson, the mysterious fortune-teller.
Act 3 finale
The trouser role of Oscar requires a coloratura soprano to provide a bit of comic relief in the midst of this dark, tragic story. Kathleen Kim’s bright sound and jaunty stance provided just the right touch for the part. Joseph Hu was thoroughly amusing as an infirm High Judge. Dark voiced Kevin Langan and Ashraf Sewailam were impressively menacing as Counts Ribbing and Horn.
Chorus Master Charles F. Prestinari’s singers represented townspeople of various professions and they sang together in solid harmonies. Conductor Massimo Zanetti made a most auspicious debut and proved that the orchestra can be part of the drama. He brought the orchestra up to fortissimo on some occasions when there was no singing and kept it down to a reasonable level when soloists had to be heard above it.
Cast and Production Information:
Count Ribbing, Kevin Langan; Count Horn, Ashraf Sewailam; High Judge and Amelia’s Servant, Joseph Hu; Gustav III, Piotr Beczala; Count Anckarström, Aris Argiris; Amelia Anckarström, Krassimira Stoyanova; Madame Arvidson, Stephanie Blythe; Oscar, Kathleen Kim; Conductor, Massimo Zanetti; Director, Lesley Koenig; Costume Designer, John Conklin; Chorus Master, Charles F. Prestinari; Lighting Design, Gary Marder; Choreographer, Kenneth Von Heidecke