02 Mar 2014
LA Opera Presents a Parable of Good and Evil
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
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.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
His nemesis, Master-at-Arms John Claggart, played by the equally charismatic Greer Grimsley, hates him because of it. The director could have introduced a homoerotic element of hatred born of rejection, but she chose not to. Instead, the evil Claggart is a first cousin to Verdi and Shakespeare’s Iago.
Herman Melville’s works have become the basis for two modern operas, Benjamin Britten’s 1951 Billy Budd and Jake Heggie’s 2010 Moby Dick. When Melville died in 1891, he left the novella Billy Budd unfinished, so it was not published until 1924. His first biographer, Raymond Weaver, unearthed its manuscript when he read through Melville's papers. In 1951, a play made from the novella by Louis Coxe and Robert Chapman was a major success on Broadway. That same year saw the premiere of Benjamin Britten’s opera, which has a libretto by English novelist E. M. Forster who worked with frequent Britten collaborator, Eric Crozier.
Richard Croft as Captain Vere
The title role was intended for Geraint Evans, but he found its tessitura too high. At the opera’s monumentally successful premiere at Covent Garden on December 1, 1951, Theodore Uppman sang Budd and Evans sang Mr. Flint. The performance received seventeen curtain calls and rave reviews.
The current Los Angeles Opera production by Francesca Zambello was first seen at London’s Covent Garden on May 30, 1995. Los Angeles Opera originally mounted her austere, relatively traditional production in 2000 and brought it back on February 22, 2014, under the direction of Julia Pevzner. Alison Chitty’s set is a steeply raked, angular deck that can be raised to reveal a crew area below. Above the deck is a slanted mast with an arm that becomes reminiscent of a cross when Billy stretches his arms out on it.
Billy, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence. His nemesis, Master-at-Arms John Claggart, played by the equally charismatic Greer Grimsley, hates him because of it. The director could have introduced a homoerotic element of hatred born of rejection, but she chose not to. Instead, the evil Claggart is a first cousin to Verdi and Shakespeare’s Iago.
Caught in the middle of this drama is the ship’s captain, Vere, beautifully sung and movingly interpreted by Richard Croft. He is seen as an old man in both the prologue and the epilogue. He is still uneasy looking back on his role in Billy’s conviction and execution at sea for assaulting a superior officer. That is Britten’s way of expressing his discontent with the harsh laws of wartime. This production pulled the drama taut and propelled the action forward. Many singers created notable character portrayals in this performance. Greg Fedderly was a raucous Red Whiskers, James Creswell a wise Dansker, and Anthony Michaels-Moore an obsequious Redburn. Members of the Los Angeles Opera chorus sang with precise harmony while making the audience realize how many hundreds of men it took to man sailing ships.
Although the opera does not send the audience out humming its tunes, it is consummate music drama and the orchestra makes the audience feel Billy’s pain when he is betrayed. Britten’s sophisticated musical structure sets the listener up for the coup de grace, Billy’s inability to speak at the crucial moment and his resulting assault on Claggart. The composer has created an evocative phrase for each thing that happens in the opera and conductor James Conlon brought them all out with the brilliant colors and the stark clarity of the score. Conlon was the prime mover for bringing more Britten to Los Angeles and with this performance he demonstrated the powerful emotional appeal of that composer’s work.
Cast and production information:
Billy Budd, Liam Bonner; Captain Edward Vere, Richard Croft; John Claggart, Greer Grimsley; Mr. Redburn, Anthony Michaels-Moore; Mr. Flint, Daniel Sumegi; Lieutenant Ratcliffe, Patrick Blackwell; Red Whiskers, James Creswell; Bosun, Craig Colclough; Novice, Keith Jameson; First Mate, Paul LaRosa; Second Mate, Daniel Armstrong; Novice's Friend, Valentin Anikin; Maintop, Vladimir Dmitruk; Squeak, Matthew O'Neill; Cabin Boy, Rory Hemmings; Conductor, James Conlon; Production, Francesca Zambello; Director, Julia Pevzner; Set and Costume Design, Alison Chitty; Lighting, Alan Burrett; Chorus Master, Grant Gershon; Fight Director, Ed Douglas.