Recently in Performances
‘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.
On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.
While Pegida anti-refugee demonstrations have been taking place for a while
now in Dresden, there was something noble about the Semperoper with its banners
declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as
Opera houses’ neglect of Leoš Janáček remains one
of the most baffling of the many baffling aspects of the
‘repertoire’. At least three of the composer’s operas
would be perfect introductions to the art form: Jenůfa,
Katya Kabanova, or The Cunning Little Vixen would surely
hook most for life.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
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.