Recently in Performances
Most opera professionals, including the individuals who do the casting for
major houses, despair of finding performers who can match historical standards
of singing in operas such as Aïda. Yet a concert performance in Aspen
gives a glimmer of hope. It was led by four younger singers who may be part of
the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
Three years ago I made what may have been my single worst decision in a half
century of attending opera. I wasn’t paying close attention when some
conference organizers in Aix-en-Provence offered me two tickets to the premiere
of a new opera. I opted instead for what seemed like a sure thing:
William Christie conducting some Charpentier.
Advertised in the program as the first opera written in the New World,
La Púrpura de la Rosa (PR) was premiered in 1701 in Lima
(Peru), but more than the historical feat, true or not, accounts for the
The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.
Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.
As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.
Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.
Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.
That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.
Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.
This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.
John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
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