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Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
16 Nov 2016
Soldier Songs in San Diego
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
Upon entering the theater, the audience was greeted by low rumbling sounds that erupted into soft-edged explosions every few minutes. It was somewhat unnerving as it continued unabated until the presentation began, but the idea was to give the incoming audience a tiny taste of what it is like to be in a war zone. The mood didn’t get any lighter when Director Tomer Zvulun and design group GLMMR began to show a verismo version of the three stages of a soldier’s life.
In Stage One, the child, acted by Ryan Singer, plays with guns and video games. He enjoys chasing other children with guns. Children chant slogans about killing people with strange clothes and funny names. Video games simulate war and the child onstage thinks going to war is very much like playing a video game. The finality of death has completely escaped the youngster.
In Stage two, the child has grown up and enlisted in the military. Played by David Adam Moore, the Soldier sang with strong virile tones and excellent diction. In this presentation all the music was amplified in Garth MacAleavey’s sound design. There were titles in case anyone missed a word, but they were not altogether necessary.
After enlisting, the Soldier learned some hard truths: Getting shot hurts and soldiers actually die in combat. Casualties of war don’t get up and go home in the way that those shot down in video games or children’s stories do. Only when the soldier saw a mutilated body lying on the ground before him, did he begin to understand what war could do to the warrior. Then, he began to realize that he might be maimed and return home disabled or that he might lose his life and return in a coffin.
In Stage Three, actor Dan Denison showed the audience some of the thoughts of veterans who were lucky enough to have returned home. Contemplating what soldiering had done to them, they found they had trouble talking about their overseas experiences with people who had not been to war. Later, members of the "Talk Back" Panel noted that some veterans have had more trouble reintegrating into American society than others. Unfortunately, returnees who need psychological services may be embarrassed to ask for them. It’s sad to see that some veterans do not learn to cope with life in the United States and end up homeless.
The woman veteran on the "Talk Back" Panel said rejoining normal life in the States was harder for women because military trainers negated much of what girls had been taught growing up. As a child, she had been taught to nurture but as an adult she had learned to join in doing harm. Coming home she was again expected to be nurturing rather than aggressive, and it did not come easily. In business, for example, we expect men to be much more aggressive than women.
In Soldier Songs David Little combined the sounds of far off artillery and percussion with flute, violin, cello, clarinet, and piano. Conductor Steven Schick, a renowned percussionist, is well known for his performances of contemporary music. He paid a great deal of attention to detail and gave an impressive rendition of this unusual score.
Soldier Songs is not for the faint of heart. It takes the audience into war-like situations and shows the average American who has never seen a war zone what some soldiers have to endure. It also points out the lack of understanding many parents and children have regarding the difference between playing violent games and actual violence. High school youngsters, in particular, need to know what the dangers of war are for those who join the military. I think performances of Soldier Songs in San Diego did a great deal to bridge the gaps between soldier, veteran, and civilian.
Cast and production information:
Cast and Production Information:
Soldier, David Adam Moore; Child, Ryan Singer; Elder Man, Dan Denison; Conductor, Steven Schick; Director Tomer Zvulun; Production Design, GLMMR: David Adam Moore, Victoria “Vita” Tzykun; Lighting Designer, Maxwell Bowman; Sound Designer, Garth MacAleavey; Supertitles Coordinator, Charles Arthur; San Diego Symphony: Violin, Wesley Precourt; Cello, Chia-Ling Chien; Flute, Erica Peel; Clarinet, Frank Renk; Percussion, Erin Douglas Dowrey and Andrew Watkins; Piano M. Barranger.