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I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
13 Apr 2014
Gound Faust - Calleja and Terfel, Royal Opera House London
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The opera starts in darkness: Faust knows all about the world from books, but hasn't lived. Maurizio Benini's tempi were slow, suggesting that Faust is perhaps on the point of death when the pastoral theme bursts into the overture like a breath of Spring. When Calleja cried "Rein!", his anguish was heartfelt. As the youthful Faust, Calleja is much more in his element. His natural exuberance makes his Faust cocky rather than intellectual, but that's a perfectly valid interpretation. When Calleja sang "Salut! demeure chaste et pur" he held the spectacular long note so fluidly, the audience went into rapture. Calleja's Faust is an endearingh Italian (Maltese) wide boy, oozing charm. His rapport with the Margeurite of the evening, Alexia Voulgaridou, was good: they were singing together rather than at each other. There's a difference.
Bryn Terfel created Méphistophélès for this production ten years ago, so it was big news when he substituted for another singer at short notice. Terfel is always a force to be reckoned with, even when forcefulness dominates his singing. Méphistophélès gets away with things because he's sly. The delicate background of pizzicato around the part suggest half-glimpsed flashes of hellfire. Rather more cunning on Terfel's part might have been more in character. Terfel's Méphistophélès and Calleja's Faust don't mesh together well, though both singers are masters at working an audience. Terfel's performance this time round was interesting because it showed just how "Gallic" Gounod's Méphistophélès is, in contrast to Goethe's original, and to Russian manifestations, Think Chaliapin. When René Pape sang the part in 2011, the urbane sophistication he brought to the part made it truly sinister.
Alexia Voulgaridou has sung Marguerite many times. As soon as she began singing, her experience showed. She may not be as high profile as Sonya Yoncheva, who has appeared at the Met, with whom she shares the role, but she inhabits the role with great conviction. In her Jewel Song, her rich timbre evoked the sensuality underlying the purity in Marguerite's personality. Voulgaridou is physically very small, but energetic, suggesting the innate strength in the role. The revival director, Bruno Ravella, has dispensed with the silly blonde wig that made Angela Gheorghiu look wrong in 2011. It's the singing that counts, and most of the good ones these days have Latin complexions, perfectly right for a French heroine.
Simon Keenlyside is a perennial House favourite, but here his Valentin seemed underdeveloped. He has the notes but pushes them a little too hard, though his "death aria" was evenly paced an d well presented. Keenlyside's Valentin could have been the brother of Terfel's Méphistophélès. In 2011, Dmitri Hvorostovsky intimated that there's more to Valentin than the libretto alone might indicate. Renata Pokupić's Siebel was spirited. This is an unusual part wihich could be shaped well by someone with Pokupić's individuality: perhaps she'll make it a signature role. Jihoon Kim sang Wagner. Next season he will become a company principal, deservedly so, as he's very good. Diana Montague sang Marthe.
The designs in this production, by Charles Edwards and his team, also reference the "Frenchness" of Gounod's idiom. In the cathedral scene, Marguerite prays before an ornate Baroque sculpture, from which Méphistophélès emerges. In modern, secular times the idea of sacrilege might not be as shocking as it was in 19th century France, so this staging is an excellent way into the deeper levels of meaning in the opera. The military choruses, for example, would have resonated with audiences for whom Napoleon III and the Crimean War were topical. Marguerite's predicament, too, highlights the hypocrisy of a world in which one unmarried mother s condemned while the image of another is revered. The Walpurgis Night ballet is staged in the context of the Paris Opéra,, where patrons lust for young dancers, just as Faust fancied Marguerite. The choreography, originally by Michael Keegan-Dolan and revived by Daphne Strothmann, was brilliantly executed - the male principal Eric Underwood was particularly expressive, his physical agility underlining the erotic undercurrent that runs through the whole opera.