30 Mar 2014
ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London
Never thought I’d say it but......
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.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
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.