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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.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.