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For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March.
The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
16 Nov 2016
Barber of Seville [Hollywood Style] in Los Angeles
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
The Ebell Club in the Highland Park area of Los Angeles has a modest sized hall in which Pacific Opera Project (POP) often presents opera. The atmosphere is casual and the audience is usually seated at tables eating hors d’oeuvres and drinking wine. Music Director Stephen Karr sees to it that the music is taken seriously and Artistic Director Josh Shaw makes sure the action and the English supertitles keep their 2016 audience entertained.
Stage Director Josh Shaw designed the sets, which showed Rosina’s balcony, Bartolo’s living room, and Figaro’s shop. He had some short scenes played in front of a curtain. Above the stage were not only English titles but also videos and notes regaling the characters’ Hollywood exploits.
Figaro, Bernardo Bermudez, was the hairdresser who could always find his clients clean samples of hair or anything else needed to pass a drug test. His Figaro was so amusing that he almost distracted the audience from his robust singing. As his servant, Fiorello, Kevin Blickfeldt was a rollocking misfit.
Rosina, mezzo-soprano Meagan Martin, was a lovely young starlet who was anything but innocent, as she proved by the stripper-pole choreography she danced while singing “Una voce poco fa.” She sang with a small but sweet sound that was even all the way up and down her wide range.
The main character in this production, however, was Lindoro, sung by coloratura tenor Sergio Gonzalez. His well-focused sound made his virile voice sound larger than it actually was. New on the scene, he has an attractive tonal quality and a good sense of comic timing. Thus, he made an amusing drunk and a hilarious, bewigged “lady” music teacher. Don Bartolo, portrayed by bass-baritone E. Scott Levin, was Rosina’s leering manager who wanted her--and the money she could earn--for himself. The fall guy in this opera, Levin is an old friend to POP. We remember his riotous interpretation of Maestro Biscoma Strappaviscere in Donizetti’s Viva la Mamma.
Basilio, sung by bass Phil Meyer, was once the skin-tight leopard-print-pants-wearing lead singer of the famous group, Aluminum Blymp. At this point, however, he is a caustic-tongued music teacher who loves getting high on cocaine. He sang with a dark sound while spewing calumnies with comic touches. Although singing the comprimario role of Berta in this presentation, Melinda Ehrlich is a fine soprano who has sung leading roles with local companies and will be Juliet in the Center stage production of Romeo and Juliet. She added a strong top line to the ensembles. Wearing the shortest possible pants, Keystone cop wannabe Christopher Anderson-West’s Sergeant fainted when confronted with true nobility and he made the end of the opera turn out right.
For the better part of three hours the Ebell Club audience smiled, tittered, and guffawed at the antics of this talented cast. At the beginning of this review I mentioned that the music was always rendered with the utmost serious attention to detail. POP usually has a small orchestra, but this time Music Director Stephen Karr and Assistant Conductor Zach Neufeld played a knuckle-busting piano four hands version of Rossini’s intricate score that captured almost all of the original sonorities. The titles said the arrangement was by Arnold Schoenberg, but Karr and Neufeld hit the right keys and their music sounded just like unadulterated Rossini! This was a fun production that profited from the intimacy and casual ambience of the setting.
Cast and production information:
Cast and Production Information:
Music Director, Stephen Karr; Director and Designer, Josh Shaw; Costume Designer, Maggie Green; Assistant Conductor, Zach Neufeld; Figaro, Bernardo Bermudez; Count Almaviva, Sergio Gonzalez; Don Basilio, Phil Meyer; Fiorello, Kevin Blickfeldt; Rosina, Meagan Martin; Don Bartolo, E. Scott Levin; Berta, Melinda Ehrlich; Sergeant, Chris Anderson-West; Chorus: William Grundler, John David Wiese, and Matthew Ian Welch.