Recently in Reviews
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
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