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One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
30 Apr 2014
Les Mamelles de Tirésias in San Francisco
Poulenc’s racy little 1947 confection took stage within Kurt Weill’s peculiar little 1927 singspiel Mahagonny all framed within the current California drought and doomsday predictions of impending global aridity.
But it has been raining a bit in San Francisco, and global warming might even make San Francisco wetter rather than dryer. All this took a bit of the edge off this far-fetched conglomeration of an opera within an opera within a commentary. The good news is that we heard some very good singing by well-trained young artists, and there were some snappy performances as well. Not to forget a quite capable little orchestra in a real pit in a real and indeed fine theater, the Lam Research Theater.
San Francisco has long been in need of an additional opera company to explore vast expanses of the repertory left untouched by the heroic scope of War Memorial Opera House. The 750 seat Lam Research Theater offers a potential home to such an opera company, and maybe it is Opera Parallèle, a venture of conductor Nicole Paiement and stage director Brian Staufenbiel, who have mustered a couple of productions each year since 2010, some of them in this fine theater.
This sally onto the Lam Research Theater stage was a meager production — a too real, quite forlorn 22 foot, vintage cabin cruiser put up on wheels and clumsily pulled around the stage. There was no context for the boat, like a parched earth ground or like denuded hills surround, though there were some meager gaseous aurora borealis lighting effects that flickered faintly from time to time that maybe were drought related.
The little, and it is conceptually and musically inconsequential, Mahagonny did not hold together visually or musically on the open, blank stage and the singers were simply too singerly, their elegance a poor substitution for the Weill/Brecht intended grit. Mme. Paiement’s orchestra was without edge and the maestra’s tempos felt leaden indeed.
Glenn as The Boy, Gabriel Preisser as The Husband in Les Mamelles de Tirésias. Photo by Steve DiBartolomeo, Westside Studio Image
But it all picked up splendidly when the evening morphed into the Poulenc boulevard musical, Les Mamelles de Tirésias intended to titillate and distract the post WWII Parisian public. To be sure the “advanced” social ideals seemed a bit overworked in long-emancipated San Francisco. Fortunately director Staufenbiel did not take the issues too seriously having transformed the piece into I pagliacci (a commedia dell’arte troupe descends on a backward village) here Weill's singers come upon a camp of refuges from drought stricken village somewhere on the French Riviera. Except it was on a blank black stage.
The downstage sideways positioned cabin cruiser did work very well in Les Mamelles because it gave many levels for action, and many nooks and crannies for visual surprises. You could forget the off-the-wall concept (at least there was a concept, a concept sorely lacking these days in the War Memorial) and simply enjoy the quite appealing music beautifully played in the pit and sung on the stage.
Baritone Gabriel Preisser brought unusual warmth and charm to the role of the Thérèse’s husband, tenor Thomas Glenn stood out in his Les Mamelles caricatures and more than anyone else approached the tone of the Weill. Bass-baritone Hadleigh Adams brought snap and flair to Les Mamelles’ antagonist, the Constable. The entire cast attests the high level of training behind young American artists, and the accomplishment of these young singers was very pleasurable to behold.
It will be a relief to perceive them as artists of personality someday, hopefully soon, rather than as fine young singers. Perhaps Opera Parallèle can accomplish this with deeper production values.
It was finally a well realized evening, of institutional accomplishment and promise. Off-the-wall is meant as a compliment by the way, forget the unfortunate transition at the end back into the little Mahagonny.
Casts and production information:
The Husband: Gabriel Preisser; Therèse/Tirésias: Rachel Schutz; The Constable: Hadleigh Adams; The Director: Daniel Cilli; The Journalist/The Son: Thomas Glenn; The Newspaper Vendor: Renee Rapier; The Bearded Man: Aleksey Bogdanov; The Big Lady: Amber Marsh; The Lady; Suzanne Rivin. Opera Paralléle Orchestra and Chorus with the Resound Ensemble. Conductor: Nicole Paiement; Concept and stage director: Brian Staufenbiel; Production design: Frédéric Boulay; Set design: Dave Dunning; Costume design: Christine Crook; Choreographer: KT Nelson. Lam Research Theater, April 26, 2014.