Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Boris Godunov in San Francisco

Yes, just when you thought Wotan was the only big guy in town San Francisco Symphony (just across a small street from San Francisco Opera), offered three staged performances of the Mussorgsky masterpiece Boris Godunov in direct competition with San Francisco Opera’s three Ring des Nibelungen cycles.

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Götterdämmerung in San Francisco

The truly tragic moments of this long history rich in humanity behind us we embark on the sordid tale of the Lord of the Gibichungs’s marriage to Brünnhilde and the cowardly murder of Siegfried, to arrive at some sort of conclusion where Brünnhilde sacrifices herself to somehow empower women. Or something.

Siegfried in San Francisco

We discover the child of incestuous love, we ponder a god’s confusion, we anticipate an awakening. Most of all we marvel at genius of the composer and admire the canny story telling of the Zambello production.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

A culinary coupling from the Guildhall School of Music and Drama

What a treat the London Music Conservatoires serve up for opera-goers each season. After the Royal Academy’s Bizet double-bill of Le docteur Miracle and La tragédie de Carmen, and in advance of the Royal College’s forthcoming pairing of Huw Watkins’ new opera, In the Locked Room, based on a short story by Thomas Hardy, and The Lighthouse by Peter Maxwell Davies, the Guildhall School of Music and Drama have delivered a culinary coupling of Paul Hindemith’s The Long Christmas Dinner and Sir Lennox Berkeley’s The Dinner Engagement which the Conservatoire last presented for our delectation in November 2006.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

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):