Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

A Prom of Transformation and Transcendence: Renée Fleming and the Royal Stockholm Philharmonic Orchestra

This Prom was all about places: geographical, physical, pictorial, poetic, psychological. And, as we journeyed through these landscapes of the mind, there was plenty of reminiscence and nostalgia too, not least in Samuel Barber’s depiction of early twentieth-century Tennessee - Knoxville: Summer of 1915.

The Queen's Lace Handkerchief: Opera della Luna at Wilton's Music Hall

Billed as the ‘First British Performance’ - though it had had a prior, quasi-private outing at the Roxburgh Theatre, Stowe in July - Opera della Luna’s production of Johann Strauss Jnr’s The Queen’s Lace Handkerchief (Das Spitzentuch der Königin) at Wilton’s Music Hall began to sound pretty familiar half-way through the overture (which was played with spark and elegance by conductor Toby Purser’s twelve-piece orchestra).

OPERA TODAY ARCHIVES »

Performances

Front left to right: Queen Elizabeth I (Daire Halpin), Giordano Bruno (Morgan Crowley), Sir Francis Walsingham (Robert Crowe). Back left to right: Paparazzi, Jack Walsh, Caitríona O'Leary
08 Nov 2016

Heresy, Electronic Opera in Dublin About Giordano Bruno

Travellers to Rome may have noticed that in the middle of the vegetable market, the Campo Dei Fiori, there is a statue in memory of the Dominican friar, philosopher, scientist and poet, Giordano Bruno, who was tried as a heretic in 1593 and burned at the stake in 1600.

Heresy, Electronic Opera in Dublin About Giordano Bruno

A review by Stephen J Mudge

Above: Front left to right: Queen Elizabeth I (Daire Halpin), Giordano Bruno (Morgan Crowley), Sir Francis Walsingham (Robert Crowe). Back left to right: Paparazzi, Jack Walsh, Caitríona O’Leary

 

It was the tragic story of this martyr to science, which inspired the Irish composer Roger Doyle and the producer Eric Fraad to create the electronic opera Heresy performed in Dublin’s Project Arts Centre.

Bruno ran into trouble at an early stage of his celebrated career by challenging not only key catholic doctrines, but the whole cosmic system, proposing a revolutionary concept of infinity. Travelling through France and England, meeting all the major thinkers of the time, and while in London possibly spying on Catholic conspirators, under the pseudonym “Henry Fagot” for Sir Francis Walsingham, secretary of state for Queen Elizabeth, Bruno had a spectacular life. His fascination with memory and language have influenced and inspired artists such as James Joyce who enjoyed punning on the name of the Dublin publisher “Browne and Nolan”—incorporating the name of Bruno’s home town Nola. Joyce’s novel Finnegan’s Wake contains over four hundred references to Bruno. It was therefore particularly appropriate that this particular heresy captured the imagination of Doyle.

The opera is an ensemble piece with singers taking on a variety of roles with dramatic dexterity. The intimacy of the studio theatre, allowed the audience to appreciate Fraad’s detailed work with the soloists. The opera in two acts of around an hour each was formed by various snippets of scenes from Bruno’s life, including scenes from his farce Il candelaio (The Candlebearer) leading to the redemptive moment of his death by fire. Doyle used a fascinating variety of voices including male soprano, Robert Crowe, particularly effective as an extravagantly evil Cardinal Bellarmine, as as well as an actor, Jack Walsh, using spoken dialogue. The tone of his electronic score was often meditative with words generally set slowly, creating an atmosphere of sustained reverence. The musical language was hybrid, with moments bringing to mind the minimalist approach of Philip Glass, and others where exciting rhythmic percussion suggested an altogether more popular idiom. Occasionally the vocal lines lacked architectural force, but the second half leading to the execution lent credibility to the approach as the music of the stratosphere took on a sustained universality to echo Bruno’s limitless philosophical horizons. The final moments also found Fraad’s production raising the emotional temperature of the evening with some impressive video projections of flames against the simple scaffolded set.

Lovely performances from fourteen-year old soprano Aimee Banks, who sang the role of Giordano Bruno as a boy — a crystal clear voice which was an evening long pleasure. Morgan Crowley made an intense and moving Bruno with great support from rising young Irish soprano Daire Halpin as amongst others an authoritative Elizabeth 1st, and Caitríona O’Leary, who came into her own as Circe in the final meditative moments of the opera.

Stephen J Mudge

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):