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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.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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.