Recently in Performances
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.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
06 Jul 2014
Plenty of Va-Va-Vroom: La Fille du Regiment, Iford
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
La Fille has certainly been derided over the years for its vulgarity and
jingoistic tendencies. Yet dig a little deeper and you find that the canny
Donizetti was also in fact essaying a new direction away from the
all-conquering Italian opera of his time and, by a slick piece of “art
concealing (or revealing?) art”, he was on the way to creating a new style.
Indeed he had more than 20 years of compositional experience behind him by the
time Fille hit the stage in 1839/40, and he used all his considerable
wiles to achieve his aims. Perhaps Theophile Gautier best summed up this work
as “facile et spirituelle” — and certainly it seduces with its
infectiously gay (in the original sense),light, and bright music as much as it
explores the weightier themes of nationalism, feminism and the human response
to loss and war, despite skimming over them with a gossamer thread of catchy
tunes. So how to bring all this to a tiny space in the Wiltshire countryside?
Suzanne Shakespeare as Marie
Director Jeff Clarke and his designers Nigel Howard & Graham Wynne and
conductor Toby Purser simply threw away the rule book for this English-language
version and solved the production “problems” with panache, wit, imagination
and, well, plenty of va-va-vroom. Literally almost, as the Regiment is
converted to a South Californian Hell’s Angels-type biker gang, all six of
them beautifully kitted out in full leathers, tattoos and bandanas riding some
interesting-looking “Darley Havisons”. They are “at war” with a rival
gang and so immediately we understand what Clarke is doing and are seduced into
this early 1960’s version of the Napoleonic wars. Marsha Berkenfield, social
climber in LA, her daintily-camp butler Mr.Hortensius, Sulpice is
“president” of the Regiment gang, Dulcie Crackenthorpe an appalling old
heiress, Tonio a Hispanic immigrant (serendipitously cast) and Marie as in the
original, an orphan “found” by the Regiment as a baby. True, there is the
odd surgical cut: no room, literally, for the opening scene with the
“Marquess” and Tyrolean peasants praying for deliverance en masse — but
apart from that Clarke has kept very close to the original opera. The libretto
however was definitely given a far freer rein by Clarke: plenty of choice biker
language, plenty of near-the-knuckle anti-Hispanic invective.
Any “Fille” anywhere has always been an opera which stands or falls by
the success of its Daughter of the Regiment; over the decades it has been
defined by many by the quality of the soprano singing the role of Marie —
from Jenny Lind, via the great Dame Joan Sutherland, and on to such modern day
successes as Natalie Dessay. So it was a delight and a relief to hear young
Australian-born soprano Suzanne Shakespeare take on the mantle with a fearless
display of sparkling coloratura, trills and even a few decorations of her own.
Her voice has both a warm middle and a shining top: E flats popped with aplomb,
yet with “Il faut partir...” her goodbye to the gang in Act One,
she found a touching pathos, ably drawn. A bravura performance from start to
finish — a young star on the high road for sure. So then, of course, there is
the “will he, won’t he” aspect of Tonio’s (in)famous “Mes
amis....”. If young Spanish tenor Jesus Alvarez was nervous, it didn’t
show. We might have been nervous for him for in that intimate space and
orchestration for just eleven instruments, but yes he delivered all nine of
those high Cs with conviction and bang in tune.
Jesús Álvarez as Tonio
However, no matter how thrilling the young leads were, or how convincing
their acting, here at Iford it was the role of Sulpice, sung by the excellent
Adrian Clarke which held the whole show together. Totally in the part from
start to finish, beautifully observed, expressively sung, what a tour de force
he gave us. Almost as impressive was Katharine Taylor Jones’ Marsha
Berkenfield, a statuesque figure wearing the vintage dresses with assurance and
poise, her warm mezzo voice supple through the range. A comically-awful Dulcie
Crakenthopre was played in drag by one of the bikers, Philip Cox who obviously
had a lot of fun mixing his roles. James Harrison’s mincing butler was the
right side of caricature and kept the laughs coming. A word must be said here
for the biker gang: sung by Cox, Richard Belshaw, Graham Stone, Martin George,
Angus McAllister and Richard Woodall, this was no ordinary “chorus” job.
With only six voices to fill out Donizetti’s wonderful music each was a true
soloist, each a significant actor. The same must be said of the 11 players of
that music: from opening solo trumpet to resounding final chords, nowhere to
hide and nowhere needed.
The production team kept it simple but effective with the cloister converted
to a tract of dry desert and cacti. The Music Lesson was ingeniously staged
with an electronic keyboard masquerading as a grand piano, in turn doing duty
as a dance-stage. Clever, witty, and it worked. Which, really, sums up this
mini-triumph of the imagination. A must-see if you can.
La Fille du Regiment (sung in English), Iford Opera, Saturday, July
Opera della Luna at Iford Opera playing: July 8th,
10th, 12th, 15th, 17th and