Recently in Performances
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
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