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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.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
30 Jan 2017
Falstaff in Genoa
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.
Both earlier productions designed by his long time operatic scenic collaborator Margarita Palli.
This Luca Ronconi Falstaff production was first seen in Bari in 2013 (then in Naples and Florence). It is designed by Tiziano Santi, normally a collaborator in Ronconi’s non-operatic theater projects. Santi’s set is nothing more than walls of blank canvases, including the show curtain itself, against which walls Verdi’s gigantic comedy takes place. It is minimalist staging, the scenes traveling presentationally back and forth across downstage. Finally it was a purely verbal Falstaff, staged so the we heard every word uttered both by the voice on the stage and by Verdi’s orchestra in the pit. And we clearly saw every word lived by the opera’s protagonists.
29 year-old, wunderkind conductor Andrea Battistoni was in the pit engaging the hyper alive Genoa orchestra with the stage, magnifying the “Falstaff immenso! enorme Falstaff!” announced by Sir John Falstaff into monumental proportion, driving the punctuating cadences to every last one of Verdi’s intended exclamation points, delighting in the sweet, fleeting encounters of the young lovers, encouraging the female chatter and indulging the Italian male cuckold fetish to its absolute maximum. It was a conducting tour de force, sparks still flying from the tip of his baton (stick still in-hand) at his stage bow.
Ford's tractor, Fenton extreme left, Ford in hat with feather extreme right
The Genoa cast of January 28 found a distinctly Mediterranean bias for Ronconi’s simple English farm life — The Italiano Alberto Mastromarino as Falstaff, Brazilian born, Spain finished baritone Rodrigo Esteves as Ford, Serbian born and trained Nenad Čiča as Fenton, Livorno born Valentina Boi as Alice. Plus two Russian born artists who have become Italian artists — Anastasia Boldyreva as Dame Quickly and Daria Kovalenko as Nanetta. Add to these the bevy of Italian male buffo character roles that were plumbed to perfection in the inimitable Italian buffo tradition.
Interestingly this was the second cast, singing two of the five performances, but you could not imagine or wish for more finished performances. Sir John Falstaff was of believable girth, of quick spirit and of powerful voice. You could, for moments from time to time, even believe that this Falstaff was an honest predator and not simply a caricature of delusion. He quibbled with Ford as an equal, triggering Rodrigo Estives, a very smart-looking, too handsome farmer, to go-off-the-deep-end in forceful hyper-baritonal terms. Note that the Ford disguise was dark glasses and, wittily, a pillow stuffed under his jacket to add girth. Fenton was dressed in bibbed denim trousers, the classic piece-of-straw chewin’ farm hand, tenor Nenad Čiča’s “Dal labro il canto estasiato vola” exquisitely wrought in tenorial flight.
The Alice Ford of Valentina Boi was ever so slightly maternal, her ample lyric voice buoying the fracas of female voices in Ronconi’s barnyard (sketched by nothing more than four geese in a line), pedaling on and off on fantastical antique bicycles with her daughter, Nanetta, sung by Daria Kovalenko in her little-girl operetta-like voice. Anastasia Boldyreva found the richness of tone to vocally convey Verdi’s satiric Quickly, yet it was the voice of a real woman (and gratefully not a cameo appearance by a famous over-the-hill diva). Meg Page did what she always does — stayed out of the way except when needed.
The upside down oak tree
It was perfect theater, well until Act III when the Herne, the Hunter’s Oak inexpicably flew in upside down and dramatically the carefully entwined threads lost direction. Focus was further diluted by Nanetta’s anemic delivery of “Sul fil d’un soffio etesio.” It is possible that the slight musical insecurities inherent to a second cast noticed throughout the evening became more pronounced. We were left musically and dramatically adrift until finally the 10 protagonists walked across the stage apron to sit on the lip and deliver Falstaff’s immense and enormous fugue “Tutto nel mondo è burla, l’uomo è nato burlone” directly under the conductor’s baton. It was indeed Verdi’s 10 voiced fugal joke as never before, his response maybe to Wagner’s 50 voiced Meistersinger riot and certainly a bit of well-meaning one-upmanship to the great ensembles of Rossini himself.
Cast and production information:
Sir John Falstaff: Alberto Mastromarino; Ford: Rodrigo Esteves; Fenton: Nenad Čiča; Dottor Cajus: Cristiano Olivieri; Bardolfo: Marcello Nardis; Pistola: Mihailo Šljivić; Mrs. Alice Ford: Valentina Boi; Nannetta: Daria Kovalenko; Mrs. Quickly: Anastasia Boldyreva; Mrs. Meg Page: Manuela Custer. Chorus and Orchestra of the Teatro Carlo Felice. Conductor: Andrea Battistoni; Production: Luca Ronconi; Stage Director: Marina Bianchi; Scenery: Tiziano Santi; Lighting: A. J. Weissbard. Teatro Carlo Felice, Genoa, Italy, January 28, 2016.