Recently in Performances
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
06 Jun 2014
Giacomo Puccini: La fanciulla del West
‘I like the atmosphere of the West’, Puccini wrote after seeing three of David Belasco’s plays performed on Broadway in 1907, ‘but in all the “pièces” I have seen, I have found only a few scenes here and there.
a simple thread, all muddle, and, at times, bad taste and old hat.’ It was
nevertheless there and then that the first dramatic seeds were sown for La
fanciulla del West were sown; it would be written to a libretto after
Belasco, dedicated to Queen Alexandra (!), and premiered in New York in 1910.
Even after considerable compression, modification, and so forth, I am not
convinced the work is a resounding triumph, though many Puccini lovers esteem
it highly indeed. It is certainly full of musical interest: the Wagnerisms of
old are perhaps not so prominent, though the love scene in the second act
surely takes partly after Tristan , but the influence of Debussy in
particular is fruitful indeed. Whole tone scales pervade the score, and there
is more than the occasional nod to Pelléas. The story itself, the
characters included, remains more of a problem. They are not the easiest people
to care about, and without that, Puccini’s trademark emotional manipulations
cannot do their work. He may have wished the opera to be a ‘second
Bohème, only stronger, bolder, and more spacious,’ but that
ambition would only fitfully be fulfilled. The sentimentality of the
‘redemptive’ ending is, alas, only too readily resisted.
Or so it seemed here, despite an excellent orchestral performance from the
City of London Sinfonia under Stuart Stratford. The number of occasions when
one really felt the lack of a larger orchestra was surprisingly small, the
strings proving more luscious than one would have had any right to expect, the
woodwind piquant and alluring, and the brass offering dramatical fatalism
aplenty. Stratford’s direction seemed to me splendidly judged, those
Debussyan resonances both readily apparent and seamless incorporated into the
score. There is little that can be done about a rather annoying theme -
friends tell me that it has been ‘borrowed’ by a composer of musical
theatre, though it stands out like a sore thumb even before one is aware of
that - but the score was certainly given its due. Stratford’s - and his
cast’s - crewing up of musical tension during the second-act wager was
Susannah Glanville as Minnie and Simon Thorpe as Jack Rance
Susannah Glanville shone as Minnie; I had not encountered her before, but
was mightily impressed by her vocal reserves and the dramatic use to which they
were bit. This was a performance that would have graced many a ‘major’
stage, not that the ever-enterprising Opera Holland Park has any reason to fear
such lazy comparisons. Jeff Gwaltney sometimes struggled to make himself heard
- in particular, his words - but offered a sensitive portrayal of Dick
Johnson. Simon Thorpe presented the conflicting emotions of Jack Rance with
considerable skill, permitting one initially to sympathise, then to be
repelled. A strong supporting cast included a highly impressive performance by
Nicholas Garrett as Sonora. Choral singing was likewise greatly to be admired.
The problem, then, lay with Stephen Barlow’s production. This, at least it
seems to me, is a vulnerable work, and the updating to a 1950s Nevada atomic
testing ground makes little sense. A number of those who know the opera far
better than I do say that it is a work that resists relocation in any sense. I
am not so sure; I can imagine, for instance, a metatheatrical treatment in
Hollywood, which played upon musical themes as well as the more obvious
metaphor of gold-digging. The name ‘Camp Desert Rock’ seemed to promise
something that remained un-delivered, but perhaps that should come as a relief.
Barlow’s concept, however ably assisted by Yannis Thavoris’s designs, seems
not to involve any real re-thinking; re-location jars and perplexes, rather
than reinvigorates. Puccini’s ‘never a simple thread, all muddle, and, at
times, bad taste and old hat’? That would be too harsh, but work and musical
performance alike are done no favours by pointless, eye- but hardly
ear-catching interpolations, of Minnie’s final act arrival upon a motorcycle
and the lovers’ subsequent airline departure. It was difficult to resist the
conclusion that the opera would have been better off left in Gold Rush
Cast and production information:
Minnie: Susannah Glanville; Dick Johnson: Jeff Gwaltney; Jack Rance:
Simon Thorpe; Nick: Neal Cooper; Sonora: Nicholas Garrett; Trin: Jung Soo Yun;
Sid: Peter Braithwaite; Bello: James Harrison; Harry: Oliver Brignall; Joe:
Edward Hughes; Happy: John Lofthouse; Jim Larkens: Aidan Smith; Ashby: Graeme
Broadbent; Wowkle: Laura Woods; Billy Jackrabbit: Tom Stoddart; Jake Wallace:
Simon Wilding; Jose Castro: Henry Grant Kerswell; Pony Express Rider: Michael
Bradley. Director: Stephen Barlow; Designs: Yannis Thavoris; Lighting: Richard
Howell. Opera Holland Park Chorus (chorus master: Timothy Burke)/ City of
London Sinfonia/Stuart Stratford (conductor). Holland Park. Tuesday 3 June