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Opera Now provides a unique and all-encompassing perspective on the international opera scene through its lively and colourful mix of news, reviews, interviews, travel articles and commentary.

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Der Rosenkavalier at Glyndebourne Festival

19 May 2014, Lewes, UK

Lars Woldt as Baron Ochs and Kate Royal as the Marschallin at Glyndebourne
Lars Woldt as Baron Ochs and Kate Royal as the Marschallin at Glyndebourne(Photo: Bill Gooper)

Review by George Hall

Just 10 days following the death of Sir George Christie at the age of 79, the 2014 Glyndebourne Festival got underway with a new production of an opera he particularly loved – as we learned from Gus Christie, who paid moving tribute to his father and predecessor as the Festival’s chairman in a speech preceding the opening performance.

Strauss’s large-scale comedy fits perfectly into the rebuilt opera house that Sir George created: with the London Philharmonic Orchestra on excellent form in the pit, Glyndebourne’s new music director, Robin Ticciati, lavished loving care and attention on a score that sums up the essential appeal of late Romanticism in one emotionally cathartic experience. Orchestrally, this was a Rosenkavalier to savour.

There were choice elements in the cast, too. Kate Royal looked glamorous as the Marschallin, even carrying off with aplomb an opening scene in which she appeared, initially, to be naked. Vocally, there were moments, in the role’s more expansive phrases, when the voice didn’t quite open up fully – though Royal’s immaculate acting and attention to text brought her real and significant success.

As the innocent Sophie, Teodora Gheorghiu offered a vocally pristine, convincingly acted account of her ingénue role. Her rich mezzo slightly larger than the voices of her soprano colleagues, Irish mezzo Tara Erraught appeared as Octavian, the young man in the middle. Some artists – Felicity Lott and Sarah Connolly instantly spring to mind – have possessed the gift of suggesting the maleness of this character in their physical gestures; but while Erraught sang the role to a high level, realising this inherent masculinity eluded her. Michael Kraus was unusually bold and forthright as her father, Faninal. Making a definite splash was the Baron Ochs of German baritone Lars Woldt – a grand and commendably three-dimensional view of a role too often merely parodied.

The visuals, in terms of Paul Steinberg’s complex sets, Nicky Gillibrand’s extravagant costumes and Mimi Jordan Sherin’s intricate lighting, were fascinating, a blend of different periods and styles that nevertheless cohered into something unique and constantly extraordinary. Within them, Richard Jones’ production offered a depth of insight matched by a quirky, off-centre view of the piece that made one look at it with fresh eyes. Smaller roles as well as large ones benefited from this originality of approach: Gwynne Howell’s solid Notary, Andrej Dunaev’s handsomely sung Italian Tenor and Miranda Keys’ Marianne Leitmetzerin all made significant marks. I suspect the staging itself has the makings of a Glyndebourne classic.

Der Rosenkavalier runs at Glyndebourne Festival until 3 July


Opera triumphs at London's Royal Philharmonic Society Awards

15 May 2014, London, UK

Joyce DiDonato as Elena in 'La donna del lago' at Covent Garden
Joyce DiDonato as Elena in 'La donna del lago' at Covent Garden(Photo: Bill Cooper)

Opera and music theatre fared particularly well in this year’s prestigious Royal Philharmonic Society Awards held at the Dorchester Hotel in London on 13 May. Welsh National Opera received the award for Opera and Music Theatre, praised for ‘bold and contrasting’ productions of Lulu, Lohengrin and Paul Bunyan. Nominees in this category included Longborough Festival Opera, the Royal Opera House and Opera North.

In the Singer category, Joyce DiDonato headed a strong field which included Barbara Hannigan, Michael Volle and Mark Padmore. The American mezzo was commended for the ‘transcendent beauty’ of her singing in the Royal Opera House’s production of Rossini’s La donna del lago.

Opera also triumphed in the Large-scale Composition category, with George Benjamin’s Written on Skin singled out for its ‘technical skill’ and ‘emotional impact’. Meanwhile, another new opera, Imago by Orlando Gough, written as a community piece, was given the Learning and Participation Award. The opera was co-commissioned by Glyndebourne and Scottish Opera.

Daniel Barenboim took the award in the Conductor category for his Ring cycle at the 2013 BBC Proms, competing against Riccardo Chailly and Andris Nelsons.

Joyce DiDonato will be our Guest Editor for Opera Now's July/August issue. Click here and scroll down for more details.


Glyndebourne's presiding spirit George Christie dies aged 79

12 May 2014, Lewes, UK

George and Mary Christie during construction of the new Glyndebourne opera house that opened in 1994
George and Mary Christie during construction of the new Glyndebourne opera house that opened in 1994(Photo: Gus Christie)

Some children of privilege are said to be born with a silver spoon in their mouth: in the case of Sir George Christie, who died on 7 May, it was an entire opera house that dictated his destiny, even before he was born. Sir George experienced the joys of opera at an unconscionably early age: his mother, the soprano Audrey Mildmay, sang Susanna in Mozart’s Le nozze di Figaro while pregnant with him, during the first ever Glyndebourne Festival in 1934, which she and her husband, John Christie, had just founded.

Sir George’s death has robbed Glyndebourne of its guiding hand and its presiding spirit. His long tenure in the ‘family firm’ proved him to be a shrewd businessman and an innovator. Early on, he attracted major directors such as John Cox and Peter Hall to establish a new dramatic identity for Glyndebourne productions. He tolerated the contemporary, even if he didn’t especially like it, commissioning world premieres from the likes of Michael Tippett, Oliver Knussen, John Osborne, Harrison Birtwistle and Jonathan Dove. Even after handing over the running of the Festival to his son Gus, he continued to take a keen interest in artistic matters.

Over four decades, from inheriting the Festival from his parents 1958 to his retirement in 1999, Sir George turned a piece of English summer musical eccentricity into an acclaimed international artistic tour de force, nurturing operatic stars in the early days of their careers (Margaret Price and Kiri Te Kanawa, to name but two) and staging iconic productions, some of which (including The Rake’s Progress in 1975, designed by David Hockney) remain classics to this day. Perhaps his most enduring legacy will be the new opera house which he commissioned, with breath-taking daring, from Michael and Patty Hopkins.

Sir George’s death comes in the very month that the Festival will be marking its 80th anniversary. The show will go on, just as he would have wanted, but his loss will be deeply felt.

George William Langham Christie, opera festival director, born 31 December 1934; died 7 May 2014


Incoming director causes a stir at La Scala

6 May 2014, Milan, Italy

Alexander Pereira
Alexander Pereira(Photo: Luigi Caputo)

Six months before taking up his new position as general director of Milan’s Teatro alla Scala, Alexander Pereira has found himself at the centre of a controversy. He currently runs the Salzburg Festival and has been accused by Milan’s mayor of buying four Salzburg productions for La Scala without seeking approval from the Italian authorities.

Pereira presented his 2015-17 plans to the board of La Scala in late March; the purchase of the four productions was announced in the Austrian media on 1 April. ‘I learned about this affair from the papers, and immediately asked for a written report from Mr Pereira on what happened,’ explained Giuliano Pisapia, Milan’s mayor and the chairman of La Scala’s foundation. He added: ‘Should incorrect behaviors emerge, I will take the proper and due measures.’

Defending his position in an interview with the Turin-based newspaper La Stampa, Pereira said that the Salzburg Festival had spent €4.1m on the four productions, while La Scala will pay only €660,000. He said that he has chosen Salzburg’s best productions – Falstaff, Don Carlo, Die Meistersinger and Mozart’s Lucio Silla – and that they would be distributed over four years.

Elsewhere, Pereira has indicated that he wants to curtail the influence of La Scala’s loggionisti – a powerful minority of die-hard opera fans famed for their loud cat-calling, whose opinions can make or break the fortunes of artists appearing at the house. In mid-March he met the Friends of the Loggione association and is reported as telling them: ‘I have at my disposal the best [singers], but many do not want to perform on the stage at La Scala because they are intimidated, if not frightened to death. We can no longer allow this. Other opera houses are emerging and attacking our supremacy.’


San Diego Opera on the brink of closure

28 April 2014

Ian Campbell has been relieved of his duties at San Diego Opera
Ian Campbell has been relieved of his duties at San Diego Opera(Photo courtesy of San Diego Opera)

Financial strains affecting music organisations across the US have brought a surprise closure announcement from the San Diego Opera.

Less than a month before the end of its 2013-14 season on 13 April, the Southern California company, which has an annual budget of US$50m, announced it had succumbed to a dearth of sponsors and grants.

The SDO, which once attracted stars such as Plácido Domingo, Joan Sutherland, Luciano Pavarotti and Beverly Sills, announced it would bring down the final curtain just short of its 50th anniversary with a one-week run of Massenet’s Don Quixote.

‘After nearly 50 years as a San Diego cultural cornerstone providing world-class performances, we saw we faced an insurmountable financial hurdle going forward,’ said Ian D Campbell, the company’s general and artistic director. ‘We had a choice of winding down with dignity and grace, making every effort to fulfil our financial obligations, or inevitably entering bankruptcy, as have several other opera companies. Our board voted to take the first choice.’

The response from supporters of the company has been swift, including an online petition that has attracted over 21,000 signatories. SDO company members are also exploring the possibility of seeking an injunction to halt the closure, and board member Carol Lazier has donated US$1m to buy more time while another solution is sought.

Further signs of deep division within the company are continuing to emerge: the exodus of 13 board members two weeks ago was followed last Friday by the suspension of Ian Campbell and his ex-wife Ann Spira Campbell, SDO’s deputy director general. In 2010 and 2011 their combined salaries totalled more than $1m – a fact that critics of the closure have been quick to seize upon.

According to former SDO donor and advisory board member Don Bauder, however, the company’s plight reflects wider problems of ageing opera fans not being replaced by younger ones. He said SDO ticket sales fell from 41,353 in 2010 to an estimated 31,500 this season.

Prior to his removal last week, Campbell had been at the helm of SDO since 1983. The company achieved a balanced budget for the first 28 years of his tenure, but has posted significant deficits since 2010. San Diego Opera has been ranked among the country’s top 10 opera companies by Opera America and one of 13 ‘Cornerstone Arts Organizations’ by the James Irving Foundation.

The company is currently seeking $1m through crowdsourcing to support a proposed 2015 season. Board member Carol Lazier said: 'We are now very focused on reshaping the San Diego Opera and following a fiscally responsible path'. The crowdsourcing campaign deadline is 19 May.



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