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Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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
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.