Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
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.
Joan of Arc at the Stake in Lyon
A review by Michael Milenski
Above: Audrey Bonnet as Jeanne [All photos courtesy of the Opéra de Toulon]
That Castellucci sought collaboration with Honegger and the dramatic oratorio’s author Paul Claudel to create this theater piece is no surprise. The Honegger work with its book by Paul Claudel was born in a Europe of clashing ideologies — political, artistic, technical, cultural — on the verge of self destruction. In fact the Prologue to the oratorio was added in 1944.
A time somewhat like the current moment in our now far larger world. Castellucci’s theatrical world explores an abyss of possibilities for any moment of tragedy in this or any world. For Castellucci theater is a unique language, well beyond the mere abstraction of musical language. To music Castellucci adds a tangible, physical world — real and simulated. There is the technical world that manipulates and colors the physical world and finally there is an interactive, interpretive world of infinite emotional perspectives.
It is unclear where or how you enter into Castellucci’s world, and it is also uncertain who you are. But you definitely immersed yourself Castellucci’s theater once you found yourself in Lyon’s opera house for Honegger’s mystère. The curtain rose in silence, a class of twenty-four 17 year-old girls studied silently in classroom made of reinforced concrete with period radiators and banks of neon lights. A bell rang, the girls sprang to life, noisily exited the class room and building. Faint ambient noises (dogs barking, cars, maybe sirens) were perceived over the next few minutes. A janitor appeared, swept a bit, began pulling the tables into the adjacent corridor, over time his actions took on urgency, and finally he violently and sonically heaved the last chairs and tables onto the giant pile in the corridor. He bolted the classroom door, isolating himself in the empty space.
It became apparent that the janitor was female, and we knew that soon she would be Jeanne d’Arc. She ripped the linoleum off the floor with its shrieking sound amplified, she tore out the planking and dug into the earth below. This was our 20 minute, maybe longer, maybe much longer journey into the language of Castellucci’s theatrical world.
Conductor Kazushi Ono now began Honegger’s oratorio. Joan of Arc is a speaking role, initially and through most of the piece her voice was electronically manipulated sometimes mixing it with the music, sometimes amplifying it to make clear and forceful words and sentences. Only in the last three scenes did Joan’s voice become her natural voice as she relived her childhood and accepted her martyrdom.
To be expected these final three scenes were riveting — Joan digging into the earth to find her sword, lifted into shining light, Joan dragging her dead horse, a very real horse, onto the stage and to the huge hole she had created, there followed the unforgettable imaged of Joan riding her horse. And then Joan, naked, covering herself with a white floury paste to make herself into the candle of her recalled nursery rhyme, and finally Joan, the stake itself, standing as the erect candle, an offering to the Virgin Mary.
As part of this image of Joan at the stake there then appeared an aged, maybe naked, figure who was (possibly) Joan herself as well as the saints of her visions, Catherine and Marguerite, and perhaps even the Virgin Mary.
Claudel and Honegger’s musical tragedy glories in the huge choruses of oratorio. In turn these choruses offered Castellucci the means to orient the action and to explain and advance the theatrical process. These choruses were indeed the Castellucci’s continuum, and they were persuasive. As well as, to use a Castellucci word, “gaseous.” We did not actually see the chorus until the curtain calls (it was a surprisingly small number of singers considering the size and presence of the chorus role).
The actress Audrey Bonnet from the National Theater de Strasbourg gave the tour de force — physical and emotional — performance of first the janitor then the maid of Orléans. Castelucci’s Joan d’Arc does not attempt to move us, or ask us to sublimate her tragedy into a transcendent experience, as had, for example, Jean-Paul Scarpitta’s 2005 Jeanne d’Arc au bûcher in Montpellier. Instead we participate in her suffering, a theatrical participation that leaves us outside any hope of mystical or emotional release. It is theater, nothing more (and what more should there be) and nothing less (it is very fine, challenging theater).
Some of the same things may be said of Honegger’s score (standard orchestra with the addition of three saxophones, an ondes martenot and two pianos). The musical perspective is outside looking in. It is “surface” (to use a Castellucci word) and not essence. Though not closely identified with any of the predominant styles of the early-mid twentieth century Jeanne d’Arc au bûcher is richly twentieth century in musical effect.
Cast and production information:
Jeanne d’Arc: Audrey Bonnet; Frère Dominique: Denis Podalydès; La Vierge: Ilse Eerens; Marguerite: Valentine Lemercier; Catherine: Marie Karall; Ténor solo (une voix, Porcus, 1er Héraut, Le Clerc): Jean-Noël Briend; Récitant: Didier Laval; Récitant: Louka Petit-Taborelli.
participation de Istvan Zimmermann & Giovanna Amoroso, Plastikart Studio. Chorus, children’s chous and orchestra of the Opéra de Lyon., Chœurs et Maîtrise de l'Opéra de Lyon. Conductor: Kazushi Ono; Mise en scène, décors, costumes et lumières: Romeo Castellucci; Dramaturgie: Piersandra Di Matteo; Collaboratrice artistique Silvia Costa. Opera Nouvel, Lyon, France, January 31, 2017.