Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
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.