Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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