Recently in Performances
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
22 May 2014
LA Opera: The Monk vs. The Courtesan
As Athanaël, Placido Domingo created a realistic monk who was ostensibly tempted to disregard his vows. The audience knew that had the courtesan Thaïs lived longer, he would have thrown his immortal soul into the wind.
Composer Jules Massenet and librettist Louis Gallet constructed the opera Thaïs from the 1890 novel of the same name by Anatole France. France based his book on the life of St. Thaïs of Egypt, a fourth century convert to Christianity. Massenet’s comédie lyrique was first presented at the Opéra Garnier in Paris on March 16, 1894, starring the California-born soprano for whom he wrote the title role, Sibyl Sanderson. Sanderson, known for her physical beauty as well as for her vocal interpretations, appeared at a rehearsal wearing a scanty costume made of net. Members of the orchestra were enchanted, but the company insisted she revert to wearing more a conservative outfit that would not attract the police.
Nine years later, on October 17, 1903, Lina Cavalieri sang the Italian premiere of Thaïs at the Teatro Lirico Internazionale in Milan. In 1907, Mary Garden made her American debut at the first United States performance of the opera. Later interpreters of the role of Thaïs include: Anna Moffo, Beverly Sills, Leontyne Price, Renée Fleming, and Elizabeth Futral.
Thaïs is Massenet’s third most often performed work. It follows his Manon and Werther and has never been a constant in the operatic repertoire. One of the reasons for this may be that the hero is a baritone instead of a tenor. Also, the most famous piece from this opera is not an aria. It is the Méditation, a short work for violin and orchestra. On the other hand, the role of Thaïs has been a showpiece for sopranos like Cavalieri, Garden, and Moffo whose looks were as attractive as their singing.
On May 17, 2014, Los Angeles Opera presented a production of Thaïs by Nicola Raab that was originally seen in Scandinavia. The costumes and settings by Johan Engels were colorful and evocative of luxury for the first two acts, but they did not set a definite time nor did they define the Cenobite monks with the expected garb. Only Placido Domingo as Athanaël wore an outfit that resembled a monk’s habit. Act I showed the luxury of Alexandria in bold shades of red and gold. The small box set for Act II was exquisite, while Act III showed the desolation of a bleached-out desert. All of these scenes were bathed in Linus Fellbom’s mood-influenced lighting.
Nino Machaidze as Thais with Paul Groves as Nicias
Soprano Nino Machaidze was a lovely Thaïs who sang with a bit of vibrato in the first act. After that she came into her own, however, and created a memorable characterization of the fourth century saint who turned from a life of sinful pleasure to the asceticism of the convent. In the first and second acts, the role of Athanaël lies quite low so we did not hear any of Domingo’s golden toned top notes until late in the show. However, his acting was at its best when he angrily destroyed the courtesan’s favorite erotic statue. Most importantly, he created a realistic monk who was ostensibly tempted to disregard his vows. The audience knew that had Thaïs lived longer, he would have thrown his immortal soul into the wind.
Paul Groves was a hedonistic Nicias who looked every inch the noble and sang with bronzed resonance. As the Abbess, Milena Kitic sang with dulcet tones as she welcomed Thaïs into the company of sisters. Domingo-Colburn-SteinYoung Artist Program Member Valentin Anikin sang Palemon with deep toned lyricism while fellow members Hae Ji Chang as Crobyle and Cassandra Zoé Velasco as Myrtale enchanted the audience with their visual and vocal talents. As with many French operas, the chorus plays a part. Grant Gershon’s group sang with luscious harmonies. Concertmaster Roberto Cani played the Méditation with jewel-like tones. Conductor Patrick Fournillier brought all the wide branching strands of this performance together with a firm hand but he allowed the singers enough room to sculpt their characters with the music.
Cast and production information:
Thaïs, Nino Machaidze; Athanaël, Placido Domingo; Nicias, Paul Groves; Palemon, Valentin Anikin; Crobyle, Hae Ji Chang; Myrtale, Cassandra Zoé Velasco; Abbess Albine, Milena Kitic; Cenobite Monks: Omar Crook; Reid Bruton; Todd Strange; Gregory Geiger; John Kimberling; Servant, Kihun Moon; Conductor, Patrick Fournillier; Director, Nicola Raab; Design, Johan Engels; Lighting, Linus Fellbom; Concertmaster Roberto Cani; Chorus Master, Grant Gershon.