Recently in Performances
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.