Recently in Performances
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.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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