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On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
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.
23 Apr 2014
Arizona Opera Presents Don Pasquale in Tucson
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
Pasquale was an aging movie idol from the silent picture era who had been very famous at one time. In the nineteen fifties, however, he was living in an aging mansion on Sunset Boulevard that was as devoid of color as his old black-and-white films.
Gaetano Donizetti’s Don Pasquale is an opera buffa or comic opera with a libretto by Giovanni Ruffini and the composer based on the text that Angelo Anelli wrote for Stefano Pavesi’s earlier work Ser Marcantonio. In the tradition of opera buffa, the opera makes reference to the stock characters of the Commedia dell'arte. Beginning in the sixteenth century, the Italian Commedia usually involved improvised performances of simple sketches. Actors and actresses were usually professionals and they generally specialized in portraying one particular character. Actually the popularity of the Commedia did much to gain the right to perform on stage professionally for women because men did not portray the female characters. As with the show pictured in Ruggero Leoncavallo’s Pagliacci, most performances took place outdoors on temporary stages with minimal scenery.
Andrea Shokery as Norina the Hollywood starlet [Photo by Ed Flores]
The characters of the Commedia usually represented common social types such as foolish old men, handsome young lovers, beautiful, calculating young women, and devious intermediaries. In Don Pasquale the title character is a foolish old man, Ernesto a handsome lover, Malatesta a wily intermediary, and Norina a beautiful young woman who is in on Malatesta's scheme. The use of a false notary is a common operatic device also found in Mozart’s Cosi fan tutte.
On April 12, 2014, Arizona Opera opened its series of performances of this opera in Tucson instead of Phoenix and there we enjoyed the slower tempo of Southern Arizona. Chuck Hudson’s production of Don Pasquale combined Commedia dell’arte with Hollywood movie history. Pasquale was an aging movie idol from the silent picture era who had been very famous at one time. In the nineteen fifties, however, he was living in an aging mansion on Sunset Boulevard that was as devoid of color as his old black-and-white films. His ward and nephew, Ernesto, having refused to accept an arranged marriage, proclaimed his love for an attractive Hollywood starlet named Norina. Therefore, the outraged Pasquale decided to disinherit the young man and beget his own heirs. To do this he needs a wife, however, so he calls on a family friend, Malatesta, to help him find one.
Craig Colclough as Don Pasquale, David Margulis as Ernesto, and Chris Carr as Malatesta [Photo by Ed Flores]
From there the plot of this production differed very little from traditional renditions of the opera. Craig Colclough was a thoroughly amusing, fast singing Don who eventually laughed at his own foibles. He was the only singing member of the cast who was not a member of Arizona Opera’s Marion Roose Pullin Studio. For the young Studio Artists this was their time to shine and that is exactly what they did. Andrea Shokery was a hysterically funny Norina who sang accurately while kicking up her heels. The sound of David Margulis’s tenor voice was honey for the ears. The audience knew Ernesto would get the girl in the end, but they suffered with him on the many occasions when comic obstacles got in his way. Baritone Chris Carr, who can spit tonally accurate patter like a machine gun, was a contentious Malatesta who enjoyed stirring up a hornet’s nest. As the false notary, Calvin Griffin amused us with his antics.
Conductor Gary Wedow used rubato to readjust some of the rhythms of the overture, and with the small orchestra playing this performance, it tended to change some of the music’s free flowing melodies. Henri Venanzi’s chorus, many of whom were dressed as specific old time Hollywood stars, sang in exquisite harmony while they posed for cameras. Wearing Kathleen Trott’s costumes, the audience recognized the characters immediately. One of the most amusing portrayals was silent. Ian Christiansen, the Don's fascinating, formally dressed Manservant, seemed to glide rather than walk across the room as he added to the old fashioned glamor of the mansion. This was a well thought out updating and it worked to make this nineteenth century opera a great piece of twenty-first century entertainment.
Cast and production information:
Don Pasquale, Craig Colclough; Norina, Andrea Shokery; Ernesto, David Margulis, Malatesta, Chris Carr; Notary, Calvin Griffin; Manservant, Ian Christiansen; Cook, Diane Goullard; House Boy, Samuel Slater; Maid, Ruth Sager; Conductor, Gary Wedow; Stage Director, Chuck Hudson; Chorus Master, Henri Venanzi; Costume Designer, Kathleen Trott; Lighting and Projection Designer, Douglas Provost; Set Designer, Peter Nolle.