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It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
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]’.
10 Aug 2014
Berio Sinfonia, Shostakovich, BBC Proms
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Petrenko did a reasonable job in Berio; however, I could not help but wonder how often he had conducted the work before. It was certainly a swift, driven reading, but that seemed to reflect a head more than usually stuck in the score (understandable, given the circumstances).The opening of the first movement was promising indeed: aethereal, its harmonies unmistakeably announcing an ‘Italian’ flavour - both Dallapiccola and Nono springing to mind - whatever the undoubted internationalism of Berio’s outlook. It is a great piece for the European Youth Orchestra, not only in terms of that ‘internationalism’ but also because, like Mahler (if only we could have had his music in the second half!) a large orchestra is employed, but sparingly, smaller ensembles drawn therefrom to wonderful, magical effect. It was a pity Petrenko drove so hard, but the movement recognisably remained itself.
The second movement came across almost as a ‘traditional’ slow movement, albeit again with sparing, almost soloistic use of the orchestra. An appropriately geological and river-like sense characterised the third movement. Mahler’s Second Symphony was the bedrock, of course, but I was also fascinated by the thoughts of memory and its tricks that the Rosenkavalier references provoked. If anything, Strauss and Hofmannsthal proved the more resonant on this occasion, though whether that was simply a matter of my frame of mind, or was in some sense owed to the performance, I am not sure. At any rate, the combination - and conflict - between the EUYO and London Voices made it seem, especially in the context of Petrenko’s once-again driven tempo, almost as though one were trapped within a human mind, and a witty one at that. Mathieu van Bellen offered an excellent violin solo. The typically varied vocal references included one to ‘Shostakovich’s Fourth Symphony’, concluding with a ‘Thank you, Mr Petrenko’. Amplification perhaps seemed a bit heavy in the fourth movement, though perhaps it was more a matter of the acoustic; nevertheless Berio’s imagination continued to shine through. I wondered whether the final movement might have smiled a little more - no such problem with the voices - but all was present and correct, and often rather more than that.
As for Shostakovich: well, his apologists hail this symphony as a masterpiece, but an opportunity to hear it had the rest of us wish it had remain ‘withdrawn’, not on account of any dangerous ‘modernism’ - Stalinist ‘socialist realism’ truly was insane! - but because it is such a dull, frankly un-symphonic work. For the most part, Petrenko and the EUYO did all they did to convince, although string playing sometimes went awry. The first movement opened with Lady Macbeth-style Grand Guignol, perhaps more interesting than anything that followed. Precision and attack were impressive: there was a chilling mechanistic quality to the performance, but alas, the work ensured that returns diminished, Shostakovich’s threadbare invention rendered all too apparent after a while. The second movement is at least shorter, but from the outset, one felt, as so often with this composer, that one had heard it all before, and it still seemed too long.
Oft-drawn comparisons with Mahler seemed as incomprehensible as ever. They made a little more sense in the final movement - so long as one bore in mind Boulez’s observation that Shostakovich offers at best a ‘second pressing’ in olive oil terms - but surely nothing justified the lack of variegation and indeed the sheer tedium of this piece. Petrenko and the orchestra rendered the movement’s Largo opening nicely creepy. Various woodwind took the opportunity to shine within the confines of generally unrelieved lugubriousness. There could, however, be no papering over the formal cracks. How I longed for a little invention: Haydn, Webern, Mahler, Berio, just about anyone! Is it not about time that we abandoned puerile Cold War attitudes and considered whether this music is actually any good, rather than merely sympathising with the autobiography of an alleged ‘dissident’?