Gounod's La Colombe dazzles in Siena
12 July 2013, Siena, Italy
Anyone for parrot? 'La Colombe' in Siena
Report by Juliet Giraldi
At the same time that blockbuster Verdi operas are being performed in the Arena in Verona attracting thousands of tourists,the lesser known (and largely ignored) mini-festival Settimana Musicale Senese takes part in Siena.
Organised by the Accademia Musicale Chigiana, this musical jewel is held in the third week of July, preceding the summer school with its masterclasses and series of chamber concerts. Young instrumental players from all over the world attend these courses through August, attracted by the excellence of the tuition and the high standard it expects - and attains.
This year the Chigiana Week celebrated its 70th anniversary with a particularly attractive programme which included two operas: Handel's Hymen with the Ensemble Europa Galante conducted by Fabio Biondi, and Gounod's La Colombe (The Dove). The latter, which inaugurated the festival, was performed in the incredible setting of the Teatro dei Rinnovati, a beautiful 18th-century theatre that faces out onto a piazza next to the city's town hall.
This delightful two act opéra comique was composed by Gounod in 1860. It was based on a poem by La Fontaine (Le Faucon) which was itself inspired by a story by Boccaccio in the fifth day of the Decameron. (For the record, Boccaccio's 7th centenary is being celebrated this year). It narrates that Federigo degli Alberighi, who loves but is not loved in return, spends all his money in courtship and is left with only a falcon. Since he has nothing else to give her, he offers this to his lady to eat when she visits his home; on learning this, she changes her mind, takes him for her husband, and makes him rich.
The falcon becomes a dove in Gounod's opera and in a mischievous final twist the heroine Sylvie is treated by her lover to parrot instead of dove pie, the parrot belonging to her arch rival – not such an acceptable conclusion today as it would have been in 1860! The charming opera with its catchy melodies and comic episodes was performed for the first time at Baden-Baden and was met with much enthusiasm. Later, the spoken dialogue was set to music by Poulenc and it was this version that was performed with great verve in a brilliant production by Denis Krief with the Orchestra della Toscana conducted by Philipp von Steinaecker. The quartet of soloists was made up of Laura Giordano as Sylvie, a rippling light soprano ideal in this part, Laura Polverelli, superb acting and singing as Horace's servant, Juan Gatell as the lovelorn Horace and Filippo Polinelli as MaÎtre Jean.
San Francisco Opera Summer Festival
12 July 2013, San Francisco, US
Strength, confidence and sexuality: Sasha Cooke as Mary Magdalene
Matthew Polenzani (Hoffmann) and Hye Jung Lee (Olympia)(Photos: Cory Weaver)
Review by Karyl Charna Lynn
The Gospel of Mary Magdalene searches for new meaning in a familiar story by reinterpreting the role Mary Magdalene played in Jesus’s life. Eschewing her unsavory reputation, the opera places her not only as his most important disciple, but also as his wife, adding a romantic and physical love dimension to the standard Biblical narrative.
The opera, which received its world premiere in San Francisco this summer, literally dug into history, unfolding on David Korins’ set of an Israeli archeological site filled with railings, stairways and tunnels. Lining the top, five modern-day Christians (called Seekers) disillusioned with the negativity towards women and sex, asked about Mary as she materialized at the bottom of the site where the story unfolded, fusing the past with the present.
Composer Mark Adamo portrayed the emotional conflicts and interactions of Mary’s new status in Jesus’s life through his music, which for the most part consisted of sparse orchestral writing that primarily supported the vocal line. It sounded like three hours of recitative with a smattering of tonal outbursts of emotion and discordant dramatic sounds, but lacked tension, never gained steam, and eventually became tedious. The problem, perhaps, was that these larger-than-life characters were presented on a human scale, their internal conflicts replacing external actions. Adamo wrote music to suit, which raises the question whether this approach is viable for a successful opera. Opera normally relies on contrast, tension and passion to transport and move audiences, but it is inherently difficult for contemporary operatic music to translate psychological conflicts into gripping, involving drama.
Nonetheless, the execution was admirable. Sasha Cooke’s searing voice exuded the strength, confidence and sexuality of Mary and her restless search for meaning. Maria Kanyova as Miriam had the most emotionally charged vocal lines which she executed with assurance and passion. William Burden made a fervent and uncompromising Peter. Only Nathan Gunn disappointed as Yeshua (Jesus), with a bland interpretation. Conductor Michael Christie drew lush sounds from the orchestra, only occasionally losing proper stage/pit balance.
Tales of Hoffman, however, was first rate in every way, offering a thrilling contrast, not only in subject matter – emphasizing the opera’s demonic undertones – but with its dramatic momentum. Updated and staged amidst dark-hued sets inspired by Belgian symbolist painter Leon Spilliaert, the production by director Laurent Pelly irreverently set the tavern scene in the men’s coatroom with drinking buddies in modern formal attire. Olympia, surrounded by electric towers, was hoisted up and down by cranes until rollerskating to destruction, and walls symbolically opened and closed, with staircases appearing and disappearing in Antonia’s dwelling.
Matthew Polenzani embodied Hoffmann with his devilish theatrics, relentless energy and vocal heft. Hye Jung Lee thrilled, tossing off Olympia’s roulades with ease, glitter and precision, while racing around the stage on roller skates. Irene Roberts made a splendid Giulietta, and Natalie Dessay was a believable Antonia: she sounded and looked frail. Her top register, however, was somewhat shaky. Maestro Patrick Fournillier’s tempo and pacing were exact, making for an involving evening.
Così fan tutte was reset and updated from Naples to a luxurious casino/hotel in Monte Carlo around 1914 that offered visually stunning sets, recreating a wealthy seaside ambiance that was slowly transformed into a hospital as the First World War began. The guests’ glamorous formal dress gave way to hospital attire which, juxtaposed with the mock poisoning and doctor masquerade, came across as anachronistic and confusing. The singing and conducting were respectable, but failed to sparkle like the production itself.
Belvedere Competition winners announced
8 July 2013, Amsterdam, Netherlands
Belvedere winners Rheinaldt Moagi, Eve-Maud Hubeaux, Dong-Hwan Lee and Roman Burdenko(Photo: Paul van Wijngaarden)
In a hotly contested final, Korean baritone Dong-Hwan Lee took the laurels to win first prize in this year’s International Hans Gabor Belvedere Competition.
The event was held outside Austria for the first time, hosted by the Netherlands Opera at its home, Het Muziektheater, in Amsterdam. Competitors were chosen from 55 countries around the world, and there was a particularly strong showing among South Korean and South African entrants.
Lee’s winning performance was a full-blooded rendition of the Toreador’s Song from Carmen, sung with substance as well as gusto. The tall, burly singer still needs to polish up his rather awkward stage presence, but the judges recognised his potential to become a major player as a dramatic baritone with a voice that is built on a solid bass register. Lee receives engagements at the Royal Opera House, London and Cape Town Opera as part of the first prize, which is awarded in memory of soprano Teresa Stich-Randall.
The second prize was shared between Roman Burdenko, a suave young Russian baritone and Eve-Maud Hubeaux, a poised, stately Swiss mezzo whose fluent bel canto has overtones of Joyce DiDonato.
South African entrant Rheinaldt Moagi, a personable young singer with an elegant tenor voice, gave a witty rendition of the ‘Legend of Kleinzach’ from Les contes d’Hoffmann, which won him third prize overall and also the International Media Jury prize, awarded by leading journalists and broadcasters assembled in Amsterdam for the final on 6 July.
The Belvedere continues to be an important recruiting ground for operatic talent, drawing influential industry figures to the competition each year, including artistic directors, agents and casting managers. It’s not only the winners who benefit: many of the singers in this year’s finals received financial support from patrons and donors, and several were awarded engagements in major houses around the world.
Next year, the competition is hosted by the Deutsche Oper am Rhein in Dusseldorf, Germany. Qualifying rounds are held in March 2014, with the finals in July.
Opera North receives Paul Hamlyn Award worth £500,000
24 June 2013, Leeds, UK
Opera North at Howard Assembly Room in Leeds
The UK’s Paul Hamlyn Foundation has awarded Opera North £500,000 to widen audiences, with a particular focus on building sustainable relationships with community partners in their local areas.
The Paul Hamlyn Award will be spread over five years, supporting the development of a tailor-made audience development scheme for the company. Awards of £500,000 each have also been given to arts organisations in Cardiff, Glasgow, Liverpool and Truro.
The Awards celebrate 25 years of arts philanthropy by the Paul Hamlyn Foundation. Régis Cochefert, who heads the Foundation’s arts division, said: ‘We want to see more people attending shows or concerts on a regular basis, but we recognise how hard it can be for venues to reach some parts of the community.’
London Opera Festival in jeopardy
3 June 2013, London, UK
Rostov State Opera's 'Madama Butterfly'
The London Opera Festival looks set for cancellation, with organiser International Opera Productions (IOP) now in liquidation proceedings.
The Festival, planned in association with the Financial Times, is scheduled to take place at the Tower of London between 9 and 13 September, featuring black-tie performances of Madama Butterfly by the Rostov State Opera.
A spokesperson from the Tower of London said: ‘We are disappointed to learn of the liquidation of International Opera Productions. Recent conversations with the company suggested advance ticket sales were being well received.’
The UK’s Event website reported that a total of 600 guests have already booked for the Festival, amounting to revenues of approximately £275,000.
IOP’s chief executive, Christopher Palmer-Jeffries, told Event: ‘This is a very upsetting situation for all concerned. The London Opera Festival concept was extremely well received by potential sponsors and clients in the City. However, owing to the unexpected 'triple-dip' recession, the sales have not been resultant and I was forced to make the difficult decision of appointing liquidators.’
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