Recently in Performances
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
12 Jul 2014
Nabucco at Orange
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
It was a production by Jean-Paul Scarpitta who was stage director and scenery and costume designer. Mr. Scarpitta’s dramaturgy is informed by his fascinations for Giorgio Strehler and Robert Wilson from which many wonderful stagings have resulted during his ten year residency in Montpellier.
There was promise in the air, the breadth of the raked stage (300 feet wide, 60 feet deep) was covered in a black asphalt-like substance, the mostly intact, imposing scaenae frons (back wall of the theater) was bare, overseen from high above by the massive sculpture of the Emperor Augustus. The revelation of the evening was the lighting of the black floor by Urs Schônebaum, its enormous shiny, rough surface shone in a myriad of intensities for the huge exterior scenes, sometimes it was reduced to a brilliant square of white light to frame a singer (Nabucco’s intensely personal “Son pur queste mie membra”), other times strong directional side light cast enormous, elongated shadows across the stage that deepened emotional relationships (the Act I confrontation of Abigail with the lovers Fenena and Ismaele).
Scapitta’s staging of Verdi’s early masterpiece was sabotaged often by the video projections on the back wall. After an initial appreciation of the technical feat of accomplishing such massive projections (ranging from discretely deployed white-lighted, descending emotional shapes to the ugly, yellow-ish, sprayed styrofoam image that covered the entire back wall for the palace interior scenes) the projections became distractions to the accomplishments of the singers and lights on the black floor.
George Gagnizde as Nabucco, Maria Serafin as Abigail
Mr. Scarpita is a musical stage director, his actors moved more by musical line and musical structural rather than by dramatic motivation. Here too he was sabotaged, now by singers who were read as static lumps of color rather than as the excited singers responding to the young Verdi whose Nabucco revealed his genius for the first time.
Veteran Georgian baritone George Gagnizde made some big sounds in a strong entrance but soon fell into an almost lieder-like performance by a bored singer. Veteran Austrian soprano Maria Serafin, a noted Tosca, no longer has the bloom of voice and perhaps never had the agility of voice to create a vibrant Abigail, a character Verdi created to tear-up-the-stage vocally and dramatically.
Younger members of the cast were more effective. French mezzo-soprano Karine Deshayes made a low key Fenena that conveyed a static presence and personality in her monochrome rose costume. Italian tenor Piero Pretti sang a stylish Ismaele and moved gracefully.
Dimitry Beloselskiy as Zaccaria, Karine Deshayes as Fenena.
The opera is however about Nabucco and Abigail, not Fenena and Ismaele. Russian bass Dimitry Beloselskiy made it about the Jewish high priest Zaccaraia as well. This fine young bass found the voice and presence to make his role the biggest performance of the evening. Unfortunately his performance was sabotaged by his costume, a white robe covered by black lightning bolt-like (sort of) shapes. While the powerful shapes on the costume sought to embody a force of divine strength they instead made his exhortations seem decorative rather than dramatic.
The costumes of the chorus were always identical, creating giant blocks of color on the stage, mostly static swathes of color that in theory (and if they were far larger) might have become a pedal-point musical color. The problem of how to move these blocks of color onto and off of the stage was never overcome. An additional scenic impulse backfired — thirty or so spear carrying Babylonian warrior extras wearing only loin clothes. Had these stalwart young Orangeois been clothed they might have seemed handsome and strong. Semi-nude they exposed a variety of shapes and postures that cried out for prosthetic chests.
The sight lines from the cavea (the tiered seating) of the Théâtre Antique makes the orchestra (seated in the “orchestra” of a Roman theater) a visually important part of the field of vision. This presence together with the fine acoustic of the theater leaves the orchestra as exposed as a solo singer on the stage. Here the unforgiving acoustic revealed the weaknesses of the Orchestre National de Montpellier, particularly the winds, The sound of the orchestra itself lacked the finesse expected of a fine French orchestra.
The conducting of veteran Israeli maestro Pinchas Steinberg did not come near the intense excitement that Verdi had found within himself for opera as a patriotic art form, nor for the new styles of vocal virtuosity that Verdi asked of his singers. Even “Va pensiero” came across as little more than a self-conscious hum along.
And what about the lighted, window onto upstage stage center from back stage that was left uncovered? Its light and passing figures fouled the stage picture of anyone sitting in Section 4. Is there no one home at the Chorégies?
Casts and production information:
Abigaïlle: Martina Serafin; Fenena: Karine Deshayes; Anna; Marie-Adeline Henry; Nabucco: George Gagnidze; Zaccaria: Dmitry Belosselskiy; Ismaele: Piero Pretti; Il Gran Sacerdote di Belo: Nicolas Courjal; Abdallo: Luca Lombardo. Orchestre National Montpellier Languedoc-Roussillon. Choruses of the opera companies of Nice, Montpellier, Avignon and Toulon. Conductor: Pinchas Steinberg. Mise en scène, scenery and costumes: Jean-Paul Scarpitta; Lighting: Urs Schönebaum. Théâtre Antique Romain, Orange, France, July 9, 2014.