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.
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).
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.
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.
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.
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.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.
Giasone in Geneva
A review by Michael Milenski
Above: Valer Sabadus as Giasone, Kristina Hammarström as Medea [All photos courtesy of the Grand Théâtre de Genève, copyright GTG / Magali Dougados]
Meanwhile with Medea’s help (as you know) Jason steals the Golden Fleece which happens, in this telling, to be a vagina. He must also deal with the wrath and suicide of his wife Isifile, and in turn he must deal with the wrath of Medea. Jason is, however, a mere counter-tenor (soprano) who produces very lovely straight tones in a beautiful warm voice
It was a long evening, very long, at the Opera des Nations in Geneva, a new, all wood stadium-like theater with minimal public spaces by the suburban UN complex, the temporary home of Geneva Opera. Almost improvisatory this slight theater would likely not withstand the vandalism incurred last year on the city’s opera house, the magnificent Grand Théâtre (closed now for two years of repairs), after budget cuts to alternative arts motivated a demonstration against this “bourgeois culture site with prices out of reach for most people.”
The proceedings of this 1649 Venetian opera unfolded slowly and methodically with the help of a bevy of licentious servants and the deus ex machine intrusion of Medea’s husband Egeo. It all worked out finally to everyone’s satisfaction — hardly the Medea outcome you’re used to — but in 17th century Venice and now in twenty-first century Geneva both sets of twins could now look forward to comfortable roofs over their heads.
You already may have the idea that Italian stage director Serena Sinigaglia went for broke in sexual matters. Indeed there was humping of Jason’s wife’s retinue by the Argonauts. Not to forget a sadomasochism (bondage and whipping) scene or watching Argonauts taking advantage of Medea’s countertenor wet nurse Delfa’s grotesque tits. Note that the Argonauts and Isfile’s retinue were non-singing as there is no chorus in Venetian opera. Besides intermittent posturing and sex acts they moved the props and scenery on and off the stage.
The Baroque orchestra Capella Mediterranean was presided over by Argentine born, Swiss early music conductor Leonardo Barcía Alarcón. As well Mo. Alarcón created this lengthy performance edition. There was a well-endowed double continuo plus a few viols and recorders to add occasional color and heft to the orchestral interludes. And of course just enough percussion to create a cute storm. Cavalli’s limited, antique musical language and these minimal orchestral resources could not begin to sustain all this bawdy violence and accompanying sexual extravagance, even with the one Baroque oboe that chimed in from time to time.
Photo: Kristina Mkhitaryan as Isifila (on right)
Thus the charm of the performers was all there was to carry the evening — and this was limited.
Geneva Opera apprentice artist Mary Freminear (born in Alabama) enchanted us in her very cute cupid body suit and mask. Charming also was Geneva Opera apprentice artist Migran Agadzhanyan (born in Tbilisi, former L.A. Opera apprentice artist) who sang Demo, the hunch-backed, stuttering servant to Egeo. The un-self-conscious energy of these two young artists created a perfect balance of character to the Cavalli music. A similar energy flowed from Isifile’s maid Alinda sung by Argentine soprano Marianna Florès.
Of the four principals (the two married couples) Russian soprano Kristina Mkhitaryan, a resident artist at the Bolchoï Opera was indeed charming. She brought both beautiful singing and a nicely balanced pathos to Isifile, finding a pleasing innocence and true sincerity in Cavalli’s splendid suicide lament, floating pure toned high notes into her death wish. The sorceress Medea, sung by Swedish soprano Kristina Hammarström had the difficult task of being an aggressive queen while seducing us with Cavalli’s meltingly beautiful Poppea/Nero-like love duets with Jason, sung by Romanian counter tenor Valer Sabadus. This male soprano had the difficult task of balancing his youth and voice with the heroic demands of his character.
Photo: The goddess Sole in prologue
The remaining cast, fine singers, all clashed in various ways with Cavalli’s need for sophisticated and pleasing personalities to complement the sophisticated, not-at-all bawdy directness of his music. Some of the casting however was inexplicable, like veteran bass Willard White as Oreste.
Stage director Sinigaglia’s concept of extravagant sex representing an easy seventeenth century Venetian morality was scenically represented by a potpourri of images and styles, from Baroque quotes to Japanese puppets conjured by veteran designer/stage director Elio Toffolutti who also envisioned costumes that echoed styles from then until now.
Cast and production information:
Giasone: Valer Sabadus; Medea: Kristina Hammarström; Isifile: Kristina Mkhitaryan; Ercole: Alexander Milev; Besso; Günes Gürle; Egeo: Raúl Giménez; Oreste / Giove: Willard White; Demo / Volano: Migran Agadzhanyan; Delfa / Eolo: Dominique Visse; Alinda: Mariana Flores; Amore: Mary Feminear. Cappella Mediterranea. Conductor: Leonardo García Alarcón; Mise en scène: Serena Sinigaglia; Décors et costumes: Ezio Toffolutti; Lumières: Ezio Toffolutti et Simon Trottet. Théâtre des Nations, Geneva, Switzerland, February 1, 2017.