30 Mar 2014
ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London
Never thought I’d say it but......
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
Never thought I’d say it but......
Hurrah for the Royal Opera’s latest and most innovative Baroque production. Inside this gorgeous gem of a theatre, the Shakespeare’s Globe’s new indoor space known as the Sam Wanamaker Playhouse, Kasper Holten and his team have created a mini masterpiece of baroque performance with Cavalli’s L’Ormindo.
Aided and abetted by a superb team of young singers and Christian Curnyn’s top-of-the range period musicians Holten has given us — some might say at last — hope for the future. Now Londoners have a truly special place within which to enjoy baroque opera and period theatre which does not intimidate with either size or brutal modern architecture. Seating just 340, and open since the beginning of the year, the Playhouse, snuggled alongside its famous larger sister the Globe, has been described as “an archetype, rather than a replica, of a specific Jacobean indoor theatre”. Inside, lit only with beeswax candles, the audience is immediately immersed in the drama seated as many are within yards of the performers, others just a little higher in the galleries surrounding the proscenium-less stage. With Cavalli’s little known L’Ormindo (last seen in London in 1967) which opened on Friday night to a packed house, the Playhouse has announced its arrival on the baroque opera scene with a flourish of shameless extravagance, saucy wit and sublime musicianship.
Ed Lyon as Amidas and Susanna Hurrell as Erisbe
Cavalli’s work may be little known today — his La Calisto being perhaps most frequently performed — but this near-contemporary of Monteverdi was highly successful in his day and a master of his craft. He had to be: no composer working for either aristocratic patron or the new breed of fickle theatre owner at that time could get away with second best. From palace drawing room to the streets inside weeks was not uncommon. His work may have gone out of fashion for a few hundred years but perhaps its felicitous mix of eroticism, money, fame and fortune now rings a topical bell? With L’Ormindo we have the usual baroque pot of swirling royal love affairs, spurned fiancées, cross-dressed nurses, bawdy comedy, magical allegorical figures, and lower-class confidants who use the audience as sounding boards for their musings on the baser problems of life and love. What we also got however was real international-standard production values: fabulous costumes by Anja Vang Kragh (whose Dior/McCartney pedigree is easy to appreciate), a raft of some of the best young singers available today, clever stage direction which used the unique size and shape of the space to best advantage, a marvellously witty English translation by Christopher Cowell and an 8 piece band of seasoned period performance experts (the continuo group, led by Curnyn, of harpsichord, baroque harp and theorbo deserve special mention).
Rachel Kelly as Mirinda
The nine singers, some taking two roles, were without exception terrific. Rehearsals must have been sufficient as they moved gracefully and expertly around the ever-present hazard of the real candle flames at both head and foot height (this writer not being alone in holding their breath from time to time as huge dresses, swirling capes and feathers came within millimetres of conflagration). But it was the excellence and intelligence of their singing and acting which supported the whole edifice around them; seldom does one get the chance to enjoy an opera where one can honestly say there was no weak link. Each deserves detailed praise and description, but suffice to say that if forced to choose just two, the names of Sam Boden (high tenor) as Ormindo, and Rachel Kelly (mezzo soprano) as Mirinda might just be them. Boden displayed a beautiful limpid tone and line totally in keeping with his character and Kelly a warm yet lively mezzo with which she also managed crisp diction — an important facet of performance in English with no surtitles. Of the smaller roles, mention must be made of James Laing (countertenor) as the page Nerillus/Cupid for both his elegant even tone and apparent insouciance as he hung suspended in pink and gold tutu from the flies. Such gentle guying of baroque opera’s traditions was part of the humour inherent in this production.
It seems that Kasper Holten in his relatively new position of Director of Opera at Covent Garden has at last turned the tide and found imaginative ways to support the continued flourishing of “old” opera. By working with innovative partners such as the Globe and Curnyn’s Early Opera group, he has done what many before him failed to do: spark new life into old magic. Long may we enjoy the fruits of his labours.
The ROH/Shakespeare’s Globe production of Cavalli’s L’Ormindo continues on 28th, 29th March and 1 st, 2nd, 4th, 5th, 8th, 9th, 11th and 12th April at 7.30pm. Returns only at time of writing. BBC Radio 3 will broadcast the opera on the 5th April at 7.30pm.