Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
15 Apr 2014
Will Don Quichotte Be the Last Production at San Diego Opera?
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Is it not equally mad to let a great opera company like San Diego Opera die when it could live on with different leadership?
On Saturday night, April 5, 2014, San Diego Opera (SDO) presented what may be its last production, a revival of Jules Massenet’s Don Quichotte. On March 20, General Director Ian Campbell announced that the company would “shut down with dignity” on April 14. SDO is not out of money, but it can no longer afford the deluxe productions it has staged in the past. The move was a total surprise to the employees, but only one of the board members voted against the closing. At the Saturday evening performance of the Massenet opera, Campbell was booed unmercifully when he attempted to speak to the audience. Since his announcement of the closure, almost twenty-one thousand SDO fans have signed a petition to keep opera in San Diego. It can be found here. The Save the Opera Campaign can be found online here.
Don Quixote and Sancho Panza fight the giant windmills.
Don Quichotte (Don Quixote) is an opera in five acts that Jules Massenet composed to a French libretto by Henri Caïn. Although Massenet's comédie-héroïque relates to the great Spanish novel by Miguel de Cervantes, it is closer to Jacques Le Lorrain’s play Le Chevalier de la Longue Figure, which was first seen in Paris in 1904. The opera, written in 1909 for the Russian bass Feodor Chaliapin, was first performed early the following year at the Opéra de Monte Carlo. The composer may have also thought of himself as a Don Quixote, because at the age of sixty-seven, he was in love with his twenty-seven year old Dulcinea, Lucy Arbell.
Don Quichotte is a vehicle for a charismatic singer with a low voice. Italian bass Ferruccio Furlanetto is one of the truly great artists of our time and an opportunity to enjoy his interpretation of the character created by Cervantes is most welcome, even if the circumstances surrounding it are painful. In 2009, the opera was first staged in San Diego for Furlanetto. Both then and in 2014, his fully engaged character portrayal, his personal magnetism, and above all his glorious singing made the audience fall in love with the madly idealistic knight. San Diego has a large Spanish-speaking population and they were particularly in evidence for this French take on an author with whose work they are most familiar.
Keturah Stickann’s traditional production followed both Caïn’s libretto and Massenet’s music with great care, but added twenty-first century lighting and stagecraft. She told her story in a most creative manner and showed applicable quotations from the original Cervantes work in translation before each scene. The Windmill Scene was particularly memorable because the music seems to be turning the huge blades as they emerged from the fog. Conductor Karen Keltner, a specialist in French music, was at her best as she gave us a musically apt description of the mind of the ingenious gentleman from La Mancha. Missy West’s exquisite costumes and Kristina Cobarrubia’s colorful Flamenco dances added visual excitement to the production. The sets by Ralph Funicello combined with Marie Barrett’s lighting to show the bare bones landscape of rural Spain.
Flamenco Dancing in Don Quichotte
Eduardo Chama’s Sancho Panza was an amusing peasant who really cared for his master. Vocally, he seems to have lost some resonance since 2009, but his able portrayal of the character made up for it. Anke Vondung was a flirtatious but innately practical Dulcinea who sang with a chocolate cream voice. Hervé Blanquart was a frightening head bandit while Chad Frisque, Michael Blinco, Anthony Ballard, and Joseph Grienenberger were mean-looking thugs. Others in the cast who added much to the production as a whole were Joel Sorenson as Rodriguez, Simeon Esper as Juan, Michaëla Oeste as Pedro, and Susannah Biller as Garcias. Choral music is often important in French opera and this work is no different. Charles F. Prestinari’s group sang with precision as they floated their delicious harmonies out into the auditorium. It’s sad to think that they and their instrumental colleagues may have much less work after the end of this season.
Cast and production information:
Rodriguez, Joel Sorenson; Juan, Simeon Esper; Pedro, Michaëla Oeste; Garcias, Susannah Biller; Dulcinea, Anke Vondung; Don Quixote, Ferruccio Furlanetto; Sancho Panza, Eduardo Chama; Ténébrun Chief Bandit, Hervé Blanquart; Conductor, Karen Keltner; Director Keturah Stickann; Choreographer, Kristine Cobarrubia; Scenic design, Ralph Funicello; Costume design, Missy West; Lighting design, Marie Barrett; Chorus Master, Charles F. Prestinari; Supertitles, Ian Campbell.