Recently in Performances
I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.