Recently in Performances
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
11 Jun 2014
Rising Stars at Lyric Opera of Chicago
In its annual concert devoted to performances by current members of the Patrick G. and Shirley W. Ryan Opera Center, Lyric Opera of Chicago showcased a roster of talented singers who will doubtless add greatly to operatic and concert stages of the immediate future.
All of the singers performed their
chosen pieces and ensembles admirably, indeed each selection as sung was
memorable for the degree of lyrical and dramatic commitment transmitted. As a
supplement to the vocal offerings Maureen Zoltek, the Ryan Opera Center’s new
pianist, played the first movement of Ravel’s Piano Concerto in G major. The
conductor for the entire program was Kelly Kuo.
The first half of the program spanned operatic selections, in four
languages, ranging from the eighteenth through the twentieth century. The
second half of the evening was dominated by American and French selections
after the performance of the movement from the Ravel Concerto. Perhaps most
revealing from this program was the opportunity to hear each of the talented
singers in a variety of repertoire, with performances that emphasized an
encouraging versatility. As an example of such range, Tracy Cantin sang, in the
first part of the concert, Cressida’s recitative and aria, “How can I
At the haunted end of the day,” from Sir William Walton’s
Troilus and Cressida. Ms. Cantin’s involvement in this brief
evocation of the title character was riveting. Her searing top notes
emphasizing “betrayed” and “a phantom” led to the dramatic concluding
declaration of “my conqueror.” In the second part of the program Cantin was
equally impressive in a very different role, the concluding scene of Jules
Massenet’s Thaïs. Here as she was supported by the Athanaël of
baritone Anthony Clark Evans the vision of Thaïs came alive and her
transformation from courtesan to saint was believable. Cantin produced soft,
pure pitches in contrast to the appropriately urgent, sincere appeals by Evans.
The final “Je vois Dieu” [“I see God”] communicated the apotheosis of a
blessed figure. A comparable set of performances was offered by bass-baritone
Richard Ollarsaba. In his rendering of Figaro’s Act IV aria, “Tutto è
Aprite un po quegl’occhi” [“All is prepared
eyes a little”], Ollarsaba demonstrated excellent sense of color and the
ability to use his resonant sound as a means to suggesting varying emotional
states. Even within the single word “Ingrata” the expressive range that
Ollarsaba attached to individual vowels communicated both distress felt by the
character portrayed and a growing sense of irritation. Ollarsaba’s later
contribution was also by Mozart, this time in the trio ensemble, “Soave sia
il vento,” from Act I of Così fan tutte, sung together with soprano
Laura Wilde and mezzo soprano Julie Anne Miller. Each of the three performers
retained a distinct vocal personality while also blending effectively at
requisite moments. As Don Alfonso, Ollarsaba’s upper register and fluid
legato connecting multiple pitches outlined an impressive backdrop for
the myriad emotions expressed, just as the women’s voices rose and fell in
touching pathos. In their solo pieces during the concert both Miller and Wilde
also gave exciting performances. Ms. Miller showed a masterful sense of
Handelian style in the aria of the title character, “Dopo notte,” [“After
night”] from Act III of Ariodante. While communicating the sense of
the text, Miller took the word “splende” [“radiantly”] with appropriate
forte emphasis. Especially noteworthy are Miller’s breath control
and Italian diction, both serving her well in the embellishments she used in
the repeat of the A section of the aria. In the second part of the program Ms.
Wilde sang Marguerite’s aria, “Oh Dieu! Que de bijoux!,” [“O God! What
jewels!”] from Gounod’s Faust; she held a mirror in hand and acted
through her character’s delight with the jewel box as she sang this famous
showpiece aria. In decorating the line of this piece Wilde was careful in
observing textual import, so that her decorations on the “princesse,” whom
she fantasized at becoming, were especially well chosen. Her final notes showed
an emotional outburst that spoke more of the character’s naïveté than of
her entrancement with the jewels produced by Mephistopheles.
Among other singers performing in both solo and shared pieces J’nai
Bridges gave a sublime account of Sapho’s aria, “Où suis je
Ô ma lyre
immortelle” [“Where am I
o my immortal lyre”] from Gounod’s opera
Sapho. Bridges led the listeners into Sapho’s emotional world, the
character’s distress at the end of her life being expressed in contrasting
lines with “nuit eternal” [“eternal night”] and “douleur”
[“pain”], both descending to full deep notes, and her wounded “cor”
[“heart”] showing the singer’s glistening upper register. As Sapho’s
inevitable act of suicide approached, Bridges’s voice rose at the
contemplation “sous les andes” [“beneath the waves”]; she invoked her
watery death with chilling, individual low pitches on “dans las mer” [“in
the sea”] before appealing to the ocean to indeed open itself up [“ouvre
toi”] with a final, shockingly dramatic top note on the repetition of “dans
la mer.” A very different sort of character emerged in her duet from
Porgy and Bess, shared with the Porgy of baritone Will Liverman. Mr.
Liverman has an excellent command of legato which he sustained
throughout, just as Bridges declared “I’s your woman now.” Both
singers’ voices suggested the mutually enveloping emotions of their
characters as the line “We is one now” remained the predominant theme
communicated. In his solo contribution, “Batter my heart” from John
Adams’s Doctor Atomic, Liverman showed very effectively the tension
felt by Oppenheimer as he struggled with the responsibilities of his scientific
research and its effects on humanity. Yet another couple deserves mention for
their vocal and dramatic commitment. Soprano Emily Birsan and tenor John Irvin
sang a delightful account of “Chiedi all’aura lusinghiera” from Act I of
Donizetti’s L’elisir d’amore. Both artists demonstrated their
ease and technical skill at bel canto singing, while each was
especially sensitive to weaving a lyrical statement that suggested a growing
sense of attraction and an independent resistance to the same. As a fitting
conclusion to the evening the latter two performers were joined by Miller,
Evans, and Ollarsaba, as well as the full ensemble, in “The promise of
living” from Aaron Copland’s The Tender Land.