Recently in Performances
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
03 Mar 2014
Torn Between Rival Loyalties
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
A full-ish house for the first night seemed from the
start inclined to be indulgent and supportive (does a Friday night after a long
week in the office in London help a new production? Discuss......) and was
helped along by what sounded suspiciously like a small claque cheering
from the very first da capo aria (“let’s get this lot going chaps”?)
without, it has to be said, that much cause at that particular moment.
John Mark Ainsley as Grimoaldo
Never mind, the audience did not need much further encouragement to applaud
as we were that night treated to one of the finest expositions of handelian
singing across the vocal spectrum that we’ve heard for quite a while. A
superb collection of the best British singing talent gathered under one roof to
show the world how Handel should — ought — to be sung. John Mark Ainsley,
(Grimoaldo), Susan Bickley (Eduige), Iestyn Davies (Bertarido), and Rebecca
Evans (Rodelinda) took on the leading roles in this tale of loyalty, power,
love and lust and gave full measure at every turn. They were supported no less
ably by Richard Burkhard (Garibaldo), Christopher Ainslie (Unulfo) and Matt
Casio (a non singing, but certainly acting Flavio). One could spend paragraphs
praising each performer’s intelligent and musical interpretations, but
suffice to say that there was not one weak link in this chain of excellence
although inevitably both Evans and Davies, as chief protagonists and with the
most sublime and ferocious arias to their credit, did receive the loudest and
longest ovations come the end of three plus hours of Mr Handel at his best. And
each singer of course supported by the dash, drive and commitment to baroque
style that Christian Curnyn supplied from the pit.
I mentioned loyalty as a major driver in the plot: it came through again and
again both within the personal relationships of the characters and in their
wider political and philosophical concerns but it was loyalty much closer to
home which worried this writer most. One wishes only success and financial
security for English National Opera as it goes forward from some pretty torrid
times; one wishes that Handel’s greatest works should become loved by ever
larger audiences in ever more numerous productions; one wishes that more opera
house orchestras could adapt as stylishly to baroque details as does ENO’s;
and one wishes our British theatrical production talents ever more plaudits
both here and overseas as they bring new ideas and angles to old favourites.
However, the elephant in the room on Friday night, it must be said, was this
very thing. Peter Jones has already garnered many plaudits for his theatrical
insight and challenging productions around the world, but on leaving the
theatre on Friday night it became clear that this production was splitting
people down the middle.
A scene from Rodelinda
A straw poll aftewards produced extremes of reaction:
“marvellous, clever, thought-provoking” at one end and “poor singers, how
did they produce such excellence within such dire, distracting drivel?” at
the other. To be fair, he and his team did (mostly) give the singers both space
and focus on the stage for their big numbers; it was all the stuff in between
that in this writer’s opinion was either indulgent, patronising or plain
wrong. Once again, poor Mr Handel has suffered from a director’s inability to
trust the music, an inability to understand that emotion, conflict and
psychological evolution is already there — on the score, within the bars and
notes, riding on the swell and trough of fine singing. Others will disagree, no
doubt; some will say it’s a modern masterpiece; only the audiences of the
future will decide and let’s hope they do in droves. What is without doubt is
that Rodelinda will survive it all and with singers as good as we
heard in the Coliseum we can rest assured that Mr Handel will always have the
Until 15 March. Tickets: 020 7845 9300; www.eno.org