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Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
29 Aug 2014
Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
In the early eighteenth century, opera buffa began to emerge as a separate entity, different from opera seria. Opera seria depicted kings and was designed to entertain the nobility. Opera buffa depicted ordinary people with more common problems and it was sung in the language of the audience. Opera buffa often used stock characters with which the audience was already familiar, such as those of the commedia dell’arte. Gaetano Donizetti’s Don Pasquale follows that tradition in making reference to familiar characters. Pasquale is a blustering Pantalone, Ernesto a lovesick Pierrot, Malatesta a scheming Scapino, and Norina a wily Columbina.
The atmosphere at the rehearsals for the opera’s Paris world premiere had been cool and dispassionate until the final dress rehearsal. It was then that Donizetti added a new piece for the tenor. Ernesto would sing the lyrical melody, “Com'è gentil” in the third act. The opera was wildly successful at its premiere in the Théâtre-Italien on January 3, 1843. Today, Donizetti’s Don Pasquale and L’elisir d’amore (The Elixir of Love), along with Rossini’s Il barbiere di Siviglia (The Barber of Seville), are still the most popular operatic comedies.
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down and it seemed hard for the singers to play their scenes against it. Duane Schuler’s lighting added to the perception of incongruity.
Andrew Shore as the Don and Zachary Nelson as Dr. Malatesta created memorable characters, but had some difficulty in synchronizing their patter duet. The singer who actually held this performance together was Brenda Rae, the Norina. Having sung impressively as Vlada Vladimirescu in The Impresario and created the character of The Cook in Le Rossignol, she went on to show her versatility as a fascinating Norina. Her personality and musicality helped to keep this comedy on an even keel.
In the garden scene, Ernesto, Alek Shrader, sings while climbing a ladder to attach a wooden moon to a roof and it seemed like he was doing too many things at once. He is a fine young singer with a slender voice that should be heard to best advantage. Apprentice Calvin Griffin who has been a fine singing actor in the Young Artist Program at Arizona Opera this year, was most convincing as the Notary.
Conductor Corrado Rovaris played the score with crisp tempi that underlined its comic origins. Unfortunately, their playing tended to be quite loud and sometimes they drowned out the lower voiced singers. However, the performance was a comedic winner and the audience went home laughing and singing Donizetti’s memorable melodies.
Cast and production information:
Don Pasquale, Andrew Shore; Dr. Malatesta, Zachary Nelson; Ernesto, Alek Shrader; Norina, Brenda Rae; Notary, Calvin Griffin; Conductor, Corrado Rovaris; Director and Costume Designer, Laurent Pelly; Scenic Designer, Chantal Thomas; Lighting Designer, Duane Schuler; Chorus Master, Susanne Sheston