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Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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.
17 Feb 2017
Billy Budd in Madrid
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.
And always mean at least something to everyone.
Case in point — the new Deborah Warner production of Billy Budd at the Teatro Real in Madrid where Billy is ambitious and assertive, where his nemesis Claggart is a sadistic brute and where his alter ego Captain Vere is a weak, uncertain young man. Mme. Warner does indeed make the case, sort of, that Billy Budd may be read in such light.
Forsaking the intrinsic naturalistic and psychological impressionism of Britten’s muse Mme. Warner and her designer Michael Levine created an expressionistic world, the specific location was an actual aircraft carrier of 1940’s rather than Britten’s man-of-war (frigate) of the 1790’s, both ships in fact named the HMS Indomitable. Thus the spaces were wide open, there were huge platforms that moved up and down. The copious ropes and webs were metaphors of human entanglement and imprisonment rather than the essential tools of sailors — the means they used to move their ship and their lives.
While the officers were of the 1940’s, the sailors, a massive number (possibly a hundred), were interpreted as grubby galley slaves (the rowers of the quick, old Mediterranean ships), forced to work (here usually scrubbing the decks) by brutes with clubs and whips.
Officers and sailors of the HMS Indomitable
There was impressive scenographic rhetoric, the deck of the aircraft carrier (the full stage) rose to reveal a hundred or so suspended hammocks (a reference to the 18th century), the suspended command bridge of the ship was swung back and forth in a brutally thwarted mutiny, and finally Billy Budd disappeared up a ladder into the fly-loft for the hanging (one heard the clicks of the safety lines being attached).
There was impressive musical rhetoric emanating from the pit as well, Teatro Real music director Ivor Bolton incising precise musical shapes from his excellent players. The flute solos of the Billy death oration eschewed the mystical pull of death, invoking instead nervousness and certainty. And the maestro brought the full, massive orchestral force to a shattering fortissimo that made the presaged death of Billy a truly huge, indeed monumental moment. His was an impressively powerful reading of the Britten score in detached, mannered moments rather than in a flow of emotional atmospheres.
Musically the effect was somewhat like the Janacek of Jenufa.
Billy Budd was sung by South African baritone Jacques Imrailo in a very physical performance. There were spine tingling moments like when he heaved himself up on a downstage rope to sing his farewell to his former ship the Rights o’Man, like the viper-strike punch that felled Claggart, and like the confident, frightening ascent to his death. It was a beautifully sung, total performance that alone was the soul of this evening.
Above: Captain Vere, below: Billy Budd
There was, strikingly, no soul to be found in Captain Vere, sung by British tenor Toby Spence, and perhaps this was the intention of metteur en scène Deborah Warner. There was no intimation of the intense, human conflicts that torment Claggart, well sung by British bass Blindlay Sherratt but in absolutely one-dimensional tones.
The Teatro Real is one of the world’s major stages. The casting, mostly British, of Billy Budd was uniformly top notch, evidently fulfilling the needs and wishes of the production. The orchestra and chorus of the Teatro Real are estimable, its aspirations to producing fine opera were palpable. This Billy Budd is a co-production with Paris, Rome and Helsinki.
Cast and production information:
Billy Budd: Jacques Imbrailo; Edward Fairfax Vere: Toby Spence; John Claggart: Brindley Sherratt; Mr. Redburn: Thomas Oliemans; Mr. Flint: David Soar; Lieutenant Ratcliffe: Torben Jürgens; Red Whiskers: Christopher Gillet; Donald: Duncan Rock; Dansker: Clive Bayley; Un novicio: Sam Furness; Squeak: Francisco Vas; Bosun: Manel Esteve; Oficial primero: Gerardo Bullón; Oficial segundo: Tomeu Bibiloni; Amigo del novicio: Borja Quiza; Vigía: Jordi Casanova; Arthur Jones: Isaac Galán. Chorus and Orchestra of the Teatro Real. Conductor: Ivor Bolton; Stage Director: Deborah Warner; Set Design: Michael Levine; Costumes: Chloé Obolensky; Lighting: Jean Kalman; Choreography: Kim Brandstrup. Teatro Real, Madrid, February 12, 2017.