Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Philip Glass's Orphée at English National Opera

Jean Cocteau’s 1950 Orphée - and Philip Glass’s chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.

Rapt audience at Dutch National Opera’s riveting Walküre

“Don’t miss this final chance – ever! – to see Die Walküre”, urges the Dutch National Opera website.

Sarah Wegener sings Strauss and Jurowski’s shattering Mahler

A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.

Manon Lescaut in San Francisco

Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.

A lukewarm performance of Berlioz’s Roméo et Juliette from the LSO and Tilson Thomas

A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz’s birth, alongside Michael Tilson Thomas’s fifty-year association with the London Symphony Orchestra.

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

Haydn's La fedeltà premiata impresses at the Guildhall School of Music & Drama

‘Exit, pursued by an octopus.’ The London Underground insignia in the centre of the curtain-drop at the Guildhall School of Music & Drama’s Silk Street Theatre, advised patrons arriving for the performance of Joseph Haydn’s La fedeltà premiata (Fidelity Rewarded, 1780) that their Tube journey had terminated in ‘Arcadia’ - though this was not the pastoral idyll of Polixenes’ Bohemia but a parody of paradise more notable for its amatory anarchy than any utopian harmony.

Van Zweden conducts an unforgettable Walküre at the Concertgebouw

When native son Jaap van Zweden conducts in Amsterdam the house sells out in advance and expectations are high. Last Saturday, he returned to conduct another Wagner opera in the NTR ZaterdagMatinee series. The Concertgebouw audience was already cheering the maestro loudly before anyone had played a single note. By the end of this concert version of Die Walküre, the promise implicit in the enthusiastic greeting had been fulfilled. This second installment of Wagner’s The Ring of the Nibelung was truly memorable, and not just because of Van Zweden’s imprint.

Purcell for our time: Gabrieli Consort & Players at St John's Smith Square

Passing the competing Union and EU flags on College Green beside the Palace of Westminster on my way to St John’s Smith Square, where Paul McCreesh’s Gabrieli Consort & Players were to perform Henry Purcell’s 1691 'dramatic opera' King Arthur, the parallels between England now and England then were all too evident.

The Dallas Opera Cockerel: It’s All Golden

I greatly enjoyed the premiere of The Dallas Opera’s co-production with Santa Fe Opera of Rimsky-Korsakov’s The Golden Cockerel when it debuted at the latter in the summer festival of 2018.

Luisa Miller at Lyric Opera of Chicago

For its second production of the current season Lyric Opera of Chicago is featuring Giuseppe Verdi’s Luisa Miller.

Philip Glass: Music with Changing Parts - European premiere of revised version

Philip Glass has described Music with Changing Parts as a transitional work, its composition falling between earlier pieces like Music in Fifths and Music in Contrary Motion (both written in 1969), Music in Twelve Parts (1971-4) and the opera Einstein on the Beach (1975). Transition might really mean aberrant or from no-man’s land, because performances of it have become rare since the very early 1980s (though it was heard in London in 2005).

Wexford Festival Opera 2019

The 68th Wexford Festival Opera, which runs until Sunday 3rd November, is bringing past, present and future together in ways which suggest that the Festival is in good health, and will both blossom creatively and stay true to its roots in the years ahead.

Cenerentola, jazzed to the max

Seattle Opera’s current staging of Cenerentola is mostly fun to watch. It is also a great example of how trying too hard to inflate a smallish work to fill a huge auditorium can make fun seem more like work.

Bottesini’s Alì Babà Keeps Them Laughing

On Friday evening October 25, 2019, Opera Southwest opened its 47th season with composer Giovanni Bottesini and librettist Emilio Taddei’s Alì Babà in a version reconstructed from the original manuscript score by Conductor Anthony Barrese.

OPERA TODAY ARCHIVES »

Performances

Sondra Radvanovsky
14 Apr 2017

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

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.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

A review by Maria Nockin

Above: Sondra Radvanovsky

 

Sondra Radvanovsky opened the program with a rendition of the Bolero from Giuseppe Verdi’s I Vespri Siciliani, “Merce, dilette amiche” (“Thank you dear friends”). At first she seemed still to be warming up, but her voice soon attained its usual lustre and radiant qualities. Later, she sang a heart rending version of “Senza Mamma” (“without Mama”) from Giacomo Puccini’s Suor Angelica. She sang two duets with Domingo who was in marvelous voice for this auspicious occasion. They joined their voices in the revealing “Orfanella il tetto umile” (“An Orphan under a Humble Roof”) from Verdi’s Simon Boccanegra and the sophisticated “Lippen Schweigen” (“Silent Lips”) from Johann Strauss’s Die Fledermaus.

Although Diana Damrau and Nicholas Testé, who are currently appearing in LA Opera's production of The Tales of Hoffmann were expected to sing at the concert, their health issues did not allow it. However, with the profusion of talent available among the members of past and present LAO Young Artist Programs, the concert provided an excellent showcase.

Liv_Redpath.pngLiv Redpath

Unlike most opera concerts, this program included ensembles. For the Rigoletto Quartet, “Bella figlia dell’amore” (“Beautiful Daughter of Love”), Kihun Yoon was a lyrical Rigoletto, Hyesang Park a refined Gilda, Joshua Guerrero a warm-voiced Duke and Renée Rapier an experienced Maddalena who did not fall for one word of the Duke’s flattery. A different group, consisting of Carlos Enrique Santelli, René Rapier, So Young Park, Michelle Siemens, Theo Hoffman, and Nicholas Brownlee, sang the smartly contrapuntal but rather slow moving sextet “Siete voi? . . . Questo è un nodo avvilupato” (“Is that you? This is a tangled knot”) from Gioachino Rossini’s Cinderella.

Duets abounded. First year program member Liv Redpath showed not only the beauty of her mid-sized voice but also a talent for comedy when she sang “Pronto io son” from Gaetano Donizetti’s Don Pasquale with equally talented program member Theo Hoffman. I can’t help thinking that one of Joshua Guerrero’s daydreams was to sing with Domingo. With robust tones, the young tenor and the tenor-turned-baritone sang “Au Fond du Temple Saint” from Georges Bizet’s The Pearlfishers.

From Mozart’s The Marriage of Figaro, Lauren Michelle as Susanna and Summer Hassan as the Countess sang an exquisite rendition of “Sull’aria . . . Che soave zeffiretto” (“On the air...The soft breeze”) and from Donizetti’s Lucia di Lammermoor, Hyesang Park and Guerrero sang “Verranno a te” (“They will come to you”) in lovely bel canto style. One of the great delights of Vincenzo Bellini’s I Puritani is its duet for lower male voices, “Suoni la tromba” (“Sound the Trumpet”). While Kihun Yoon and Nicholas Brownlee did not have the decibel power of some of the vocal stars best known for this duet, they sang it with well focused tones and and were greeted with plentiful bravos at the finish.

Some artists displayed their special talents with solo arias. Nicholas Brownlee has a wide range of dynamics and the aria “La lluvia ha cesado” (“The Rain has Stopped”) from Ruperto Chapi’s zarzuela La Tempestad allowed him to start softly, make a huge crescendo to illustrate a severe storm, then show the peaceful ambience that follows such a storm. When Brenton Ryan sang “Oh, the Lion may Roar” from John Corigliano’s The Ghosts of Versailles, he seemed to be channeling Hollywood actor Frank Gorshin. The piece tells of the invincibility of the common worm and was a perfect vehicle for this opera "bad guy" who sang with a scary style.

The Queen of the Night’s arias from The Magic Flute hold no terrors for So Young Park and she easily tossed off “O zittre nicht” (“Don’t tremble”) for this appreciative audience. Lauren Michelle, a 2015 prize winner at the BBC Cardiff Singer of the World Contest, delighted this audience with Jules Massenet’s “Dis-moi que je suis belle” (“Tell me that I’m beautiful”) from Thais.

Then the champagne began to flow backstage and Hyesang Park appeared with a tilted glass of bubbly. Singing “No se qué siento aqui” (“ I don’t know here”) from Manuel Fernandez Caballero’s Chateau Margaux with bell-like tones, she began the finale, which included the entire cast singing the “Champagne Song” from Johann Strauss’s Die Fledermaus. Since Placido Domingo sang duets with Radvanovsky and Guerrero, LA Opera veteran conductor Grant Gershon led several of the selections at comfortable tempi. However, Domingo led most offerings with his well known verve and joie de vivre.

Maria Nockin

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):