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Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
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.