Recently in Performances
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
27 Jul 2014
Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.
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.
The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
As was the fashion, the “new” opera of the 1640s celebrated the precedence of the text over the music. It was said that music served to illustrate and therefore followed the text of the drama in every way, allowing the musicians to fill in the chords between the vocal and bass lines as they wished. More complete orchestration, it was thought, should be confined to musical interludes and aria-type passages. This theory has, it must be admitted, caused many of today’s early musicians many headaches!
At Iford, director Justin Way and conductor Christian Curnyn have sensibly foregone the usual “Prologue” as the original libretto by Badoaro established the fact that humans are just playthings at the mercy of the gods - Time, Fortune and Love .However, after this he also leaps into the story of our hero near the end of his trials and travels, and so we join the story as Penelope weeps and waits for her husband to return, pestered by ambitious suitors, whilst Ulysses is washed up on the shores of Ithaca unaware that the goddess Minerva has an idea......
Elisabeth Cragg as Minerva
This Iford Opera production, sung in English, made the most of the tiny space with a vaguely “ancient/mythological” blue flooring design and subdued (and occasionally wayward) lighting. Costumes were also vaguely modern with more than a touch of the dressing-up box, but did little to disturb the intense drama of the piece. A production which served rather than inspired.
However, it was, rightly, the music and the drama which stayed with the audience as we departed into a ridiculously warm and starlit night in the depths of the Wiltshire countryside. Curnyn’s group of eight superb early instrument specialists - with himself at the harpsichord almost part of the drama from time to time - drew us into this time-warp of sound with grace, style and (even more difficult on a sultry evening) amazingly good tuning.
Jonathan McGovern as Ulysses and Rowan Hellier as Penelope
Of the 12 young singers there can only be praise, and they kept up Iford’s reputation for high quality vocalism. The restricted acting space requires complete immersion in the role as there is literally nowhere to hide when so close to the audience and as actors some were better than others. Here experience tended to tell: standouts had to be Rowan Hellier as a noble, plangent Penelope with rich mezzo tones throughout; Jonathan McGovern as the wandering hero Ulysses who brought a powerful tenor which also could spin a line with ease, and Daniel Auchincloss as the faithful servant/shepherd Eumaeus, who’s early music experience, high tenor and appealing stage presence made themselves felt. Among the more minor roles, the resonant snarling bass of Callum Thorpe as one of the nicely-delineated three suitors was memorable.
Monteverdi is not an “easy” option for any summer festival opera series and Iford Opera is to be congratulated for finding exactly the right mix of musicians and singers to convince and perhaps convert those for whom this was a first experience of how it all started so very long ago.
Click here for cast and production information.