Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Sondra Radvanovsky as Anna Bolena [Photo by Todd Rosenberg]
01 Feb 2015

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

Anna Bolena at Lyric Opera of Chicago

A review by Salvatore Calomino

Above: Sondra Radvanovsky as Anna Bolena [Photo by Todd Rosenberg]

 

The role of Anna is sung by Sondra Radvanovsky and that of her lady-in-waiting Jane Seymour by Jamie Barton. Henry VIII is portrayed by bass John Relyea and Lord Percy by Bryan Hymel. Mezzo-soprano Kelley O’Connor sings the travesti role of the page Smeton, Richard Ollarsaba is Lord Rochford, brother of Anne, and John Irvin portrays Lord Hervey. Patrick Summers conducts the Lyric Opera Orchestra and Michael Black is the Chorus Master. Both Messrs. Hymel and Summers are making their Lyric Opera debuts in these performances. The production team includes Kevin Newbury, Neil Patel, Jessica Jahn, and D.M. Wood as Director, Set Designer, Costume Designer, and Lighting Designer respectively, all in their debuts with Lyric Opera.

03_Jamie_Barton_ANNA_BOLENA_LYR141203_090_cTodd_Rosenberg.pngJamie Barton as Jane Seymour

The sinfonia, or overture starting the work, is played with only several cuts and thus introduces not only significant melodies but also the complexity of moods in effect at the Tudor court. The sprightly playing from the string section leading into positive tones for the full orchestra alternates with an intermittent backdrop of snare drums suggesting the actual power of the royal court. Indeed the political and emotional constellations of the era are highlighted by the symbolic Tudor rose displayed prominently on the scrim covering the stage. As a preparation for the conflicts in Act I, Ms. Radvanovsky, clutching herself in pregnancy, appears on a revolving stage mechanism. The chorus begins to sing, as though in sympathetic commentary, of Anne’s current disfavor vis-à-vis her husband, King Henry. Surrounded by this flurry of tensions Jane, Anne, and Smeton express their emotions and misgivings in the opening scene. From the first, Ms. Barton makes an unforgettable impression as Jane Seymour, vocally secure and dramatically exciting. In her first words, “Ella di me sollecita,” [“She has summoned me”] Jane reflects on her relationship to Anne whom she calls her “vittima,” primarily because of the liaison already initiated with the King. At the moment when she sings of the doubts which have plagued her heart, Barton’s voice extends upward on the words, “Qual dubbio in me si è desto!” [“What doubts arise in me!”]. Her incorporation of embellishments on the word “amor” as an ambivalent force addressed effectively both the anticipation of the King’s attentions and the harm caused ultimately to her mistress. Soon after the entrance of Anne, the page Smeton is invited to entertain with song the assembled ladies of the Queen’s retinue. Ms. O’Connor’s performance of “Deh! Non voler costringere” [“Do not try to force”] showcases a rich, flexible lower register, coupled with requisite skills at emphatic decoration, in this serenade to the Queen’s unhappiness. At the same time, O’Connor has assumed the character’s movements so that she is fully convincing in the role of a young man. Anne’s reaction to the serenade, declaring that Smeton has stirred her heart, is delivered by Ms. Radvanovsky in a touching performance. The upper extension of her voice is joined in convincing transitions and decorative slides to the lower reaches of her troubled spirit. Anne’s following cabaletta, “Non v’ha sguardo” [“No one can see”], is taken at a brisker tempo than expected, yet the decoration and emotional fervor on the repeated final line, “Non lasciarti lusingar” [“Do not let yourself be tempted”], bring the scene to an effective close.

Before the entrance of King Henry in the next scene Jane muses further on her lot: she fears the eventual “dì tremendo” [“doomsday”], expressed here by Barton with sonorous, low pitches. Fits of conscience continue during the ensuing dialogue with the King. Here Mr. Relyea demonstrates admirable range and command of bel canto technique when he encourages Jane to share their love in the light of day. Once Relyea’s Henry declares his hatred for Anne, the duet between the lovers develops to an intense high point of the first act. Jane’s lines vacillate here in emphasis between Barton’s searing top notes on “ultimo” [“final (encounter)”], or “Amore, e fama” [“Love and reputation”] in contrast to her deeply expressed “vergogna” [“shame”]. In response, Relyea’s fluid embellishments on “Sì: l’avrete” [“Yes: you will have it”] and “Non avrà Seymour rivale” [“Seymour shall have no rival”] are used to reassure Jane. In this performance Henry’s strategy succeeds, since musically their voices merge in the final part of the duet. As a symbol of the future, both characters ascend the throne together at the close of the scene while Anne is seen alone on a staircase above.

05_Richard_Ollarsaba_Bryan_Hymel_ANNA_BOLENA_LYR141203_167_cTodd_Rosenberg.pngRichard Ollarsaba as Rochford and Bryan Hymel as Percy

The introduction of Anne’s former suitor, Lord Percy dominates the next part and motivates the action to conclude the first act. His presence is welcomed by Rochford, who has not seen his friend at the English court since he was exiled on the basis of unproven accusations. In Percy’s first aria, “Da quel dì’ [“From the day”] Mr. Hymel provides enthusiastic declamation on “ogni terra” [“every county”] and “la mia tomba” [“my grave”]. Elsewhere, in the following cabaletta “Ah! Così ne’ dì ridenti” [“Ah! Thus in the happy days”], placement of trills was accurately, if not comfortably produced. During the subsequent trio between Henry, Anne, and Percy, the King welcomes ostensibly the return of the nobleman but credits Anne with speaking for his innocence. In the ensemble Hymel’s vocal projection is credibly even with his declaration “Voi, Regina!” [“You, my queen”] showing an especially fervent appeal. A royal hunt is announced just as Henry conspires with Lord Harvey to have Anne and her former suitor remain under scrutiny.

In the scene propelling the King’s eventual allegations Smeton enters the corridor leading to Anne’s chambers. He intends to return a portrait of Anne stolen in his own spirit of infatuated devotion to the Queen. O’Connor’s performance of Smeton’s aria, “Ah! Parea che per incanto” [“Ah! You seemed as if by magic”], a piece often cut in past performances of the opera, catches the spirit of anticipation, passion, and fear bundled into the youth’s resolve. Anne submits to her brother Rochfort’s urging that she grant Percy a hearing. Mr. Ollarsaba’s pleading as Rochfort on behalf of his friend is convincingly performed and serves as a prelude to the fate that will join both young men before too long. As expected, Percy’s meeting with Anne is here fraught with emotion. Just as Percy threatens to turn his own sword upon himself in despair, the lines “Anna per me tu sei, Anna soltanto” [“To me you are Anne, only Anne] are uttered by Hymel with touching, lyrical finesse. At this moment Smeton initiates a struggle coinciding with King Henry’s return. As he seizes upon this opportunity to accuse Anne (“che costei tradiva il Re”) [“this woman has betrayed the King”], Relyea’s pronouncements of treachery intensify into the final ensemble. Anne’s protests for understanding and mercy yield only the King’s declaration, here very well intoned, that the “Giudice” [“judges”] will determine the credibility of Anne’s defense.

From the start of Act II a relentless sadness or inevitable resignation pervades each of the scenes. At first the chorus of women in Anne’s service comment on her solitude and their loyalty. Lord Harvey now communicates to Anne the news that the women must leave her. In her prayer to ask for divine counsel, “Dio che mi vedi in core” [“God, you who can see into my heart”], Radvanovsky sings softly so that high notes melt into subtle diminuendo. When Jane enters the Queen’s chamber, the exchange between the two women evolves into the expected confession which the “rivale” can no longer suppress. As a reflection of Anne’s prayer, Barton utters Jane’s appeal of “Perdono!” while ending on a comparably soft, shaded note.

The revelation that Jane has indeed supplanted Anne in the King’s affections leads to a stirring dramatic duet, “Dal mi cor punito io sono” [“I am punished by my own heart”], comparable to the scene between Jane and Henry in Act I. Once the legal proceedings to discredit Anne have begun, the King refuses to interfere or consider mercy. In the trio sung together with Anne and Percy, “Ambo morrete, o perfidi” [“You will both die, o wicked ones“], Relyea’s lyrical projection stands out as he refers to them with the term “Coppia iniqua” [“Guilty pair”], a phrase central to Anne’s own final solo at the close of the opera. Although Percy and Rochford receive news that Henry will spare their lives, they refuse his clemency and prefer to follow Anne in loyalty to her and their execution. Percy attempts to dissuade Rochford from this decision in the expressive aria, “Vivi tu” [“You must live”]. Hymel performs this piece with admirable descending embellishments, a heart-felt “lagrimar” [“to weep”], and a superb top note at the close.

In her final aria Anne indeed reverses the appellation “Coppia iniqua” [“Guilty pair”], in reference now to Henry and Jane. Radvanovsky introduces dramatic, powerful forte notes at the start of the piece, yet she subsides into lyrical, decorated phrasing while speaking her words of pardon. The audience is left with a sympathetic image of the Queen facing execution.

Salvatore Calomino

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):