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The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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’?