Minnesota Concert Opera mounts the MINI-RING
14 August 2013, Minneapolis, US
Jane Eaglen will sing Brünnhilde in Minnesota Concert Opera’s 'MINI-RING'(Photo: Nicola Majocchi)
Wagner’s birth bicentenary in 2013 has prompted a proliferation of Ring cycles around the world, running the gamut from full stagings to concert performances. The UK’s recent Longborough Festival production, which squeezed the complete tetralogy into a 500-seat theatre, showed that even a slimmed-down version of Wagner’s epic score can still pack a punch. In Minnesota this month, audiences will be treated to a yet further reduced concert version of the ‘Ring in one Evening’ that promises some equally exceptional music-making.
The cast for these performances by Minnesota Concert Opera is the real draw, including soprano Jane Eaglen, one of the world’s leading exponents of the role of Brünnhilde, and Jay Hunter Morris, the tenor who was thrust into the international limelight two years ago, when he stepped in at the eleventh hour to sing Siegfried at the Met and earned a standing ovation from the audience.
MCO’s MINI-RING is the brain-child of the American tenor Dennis Petersen, who brought Eaglen as well as many of the other soloists on board. ‘Dennis called around to his colleagues and friends, starting with British soprano Jane Eaglen,’ says the company’s artistic director, Stanford Felix. ‘Jane agreed on the spot, and when Dennis spoke to others with whom Jane had performed – including Richard Paul Fink, Jay Hunter Morris, Kevin Langan, Sally Wolf, and Luretta Bybee – they all came on board as well, excited to perform with Jane and to present this work in concert format.’
The abridged version of Wagner’s score being used for MCO’s performances is David Seaman's ‘Ring in one Evening’, originally created for Nuremberg’s Pocket Opera in 1996. As conductor Jonathan Khuner explains: ‘Seaman’s idea was to tell the story straight through and to leave out the repetitive re-narrations, long philosophising and soul-searching, as well as most of the descriptive orchestral introductions and interludes. Thus this compressed version is anything but "highlights". Rather it moves swiftly through the whole narrative of the Ring in two acts, each of which is totally continuous. The result is an evening of great momentum, in a sequence of highly dramatic scenes and moments.’
MCO’s MINI-RING, presented in association with the Wagner Society of the Upper Midwest, will receive two performances on 13 and 15 September at the Cowles Center for Dance and the Performing Arts, Minneapolis.
Opera studies degree to offer vocal skills
12 August 2013, London, UK
Experiencing opera at Rose Bruford(Photo: Marc Wilson)
The UK's Rose Bruford College will be expanding its Opera Studies degree course through a new partnership with The Associated Studios, offering a practical element for students who wish to study singing.
Rose Bruford’s unique BA (Hons) in Opera Studies was established in 1997 and is the world’s only distance learning undergraduate programme focusing on opera as a performance art. The Associated Studios, based in Hammersmith, London, was founded in 2007 to offer professional development courses for opera singers, actors and musical theatre performers
Together, Rose Bruford and Associated Studios will offer a practical element for students who wish to develop their vocal skills as part of their Opera Studies degree. From January 2014 there will be Saturday workshops focusing on vocal technique, performance craft, connexion to text, musical interpretation, character work, style, performance traditions and presentation.
The practical strand is not compulsory. Selected students will have the opportunity to work with some of the most prominent figures in today’s opera scene, including singers such as Sally Burgess, Janis Kelly and Chris Maltman, coaches such as Iain Burnside and Antony Legge, and stage directors including Giles Havergal and James Conway.
Festival d'opéra de Québec 2013
7 August 2013, Québec, Canada
'Powder Her Face' gets a racy staging at this year's Quebec Opera Festival
Spectacular yet traditional: Robert LePage's 'Damnation of Faust'(Photos: Louise Leblanc)
Review by Karyl Charna Lynn
Although the Quebec Opera Festival is only in its third season, it has already established itself in the North American summer opera circuit with cutting-edge productions and world class execution. This season Gounod’s Damnation of Faust and Adès’ Powder Her Face were on the boards.
Berlioz’ dramatic legend about the consequences of love, passion, and dealing with the devil received a psychologically insightful interpretation by director Robert LePage. Translating the underlying message of the opera and emotions of the characters into visually striking images with breath-taking video projections that seamlessly fused with the music and action, LePage created a production that was both spectacular yet traditional and conveyed the profound meaning of this tragic tale.
The stage was divided into 24 cubicles equally distributed on four tiers. Screens were lowered in front, where video projections instantly transported the audience to and from various locations. Acrobats and dancers added to the visual richness. One of the more imaginative sequences depicted soldiers marching off to battle backwards, with their families waving them farewell as they walked backwards in the opposite direction. This dissolved into a scene showing the families eating dinner at home, which in turn morphed smoothly into a library. The soldiers' return home was also magical as they, defying gravity, walked down a vertical path into the laps of their wives. Faust’s decent into the fires of hell riveted but Marguerite’s ascent to heaven (on a metal ladder) felt anticlimactic as women and children in white with clasped hands watched.
John Relyea’s solid bass and electric athleticism made a credible Méphistophélès, though initially his voice lacked the conniving devilish intonation needed to convey Méphistophélès’ true evil. Gordon Gietz as Faust possessed the requisite French vocal sensuousness and refinement, if not always the vocal heft. Julie Boulianne embodied Marguerite, her love, longing, passion, and despair with total abandon, fiery desperation, and magnificently radiant voice. Giuseppe Grazioli drew admirable playing from the Quebec Symphony Orchestra maintaining the ideal stage-pit balance and tension.
The production demonstrated that infusing 21st century technology in a creative and intelligent manner into a traditional production can revitalize the art form for today’s society without imposing concepts unrelated to the composer’s intent.
Thomas Adès’ Powder Her Face, based on the true story of the scandalous affairs of the sexually promiscuous wife of the Duke of Argyll first revealed in the British tabloids, deals with debauchery, sex, and infidelity amongst the British aristocracy. Staged in a movie theatre transformed into a cabaret (complete with waiter service), perhaps to soften the vivid depictions of explicit sex, nudity, and bodily functions on stage, the two-act opera had a split personality and a split staging. One side portrayed videotaped activities (usually sexual in nature), while the other played host to live action, also (usually) of a sexual nature.
The music was a cacophony of sounds as fragmented as the stage action, with sudden spurts of spasmodic rhythm evoking the wild, perverse and vulnerable nature of the duchess. Adès’ vocal lines, mostly a mixture of screaming and talking, mirrored the seductiveness and animalistic desires of sex itself. The only melodies were jazz and tango.
The production’s most controversial aspect was the inclusion of 13 naked men, symbolising the duchess’s past lovers, who roamed around the stage like bored playboys, emerging variously from her bed, bathroom and closet.
The second act was diametrically opposed to the first in atmosphere and tone, as the duchess descended into despair, desperation and madness after being condemned by the judge during her divorce proceedings. The opera, the music, and vocal line all took on a serious, sombre tone. The entire cast performed admirably.
Celebrity news round-up – 22 July 2013
22 July 2013
Hospital scare for Plácido Domingo(Photo: Ennevi Studio)
Luciano Pavarotti’s first ever recording, made 50 years ago during a TV broadcast in the UK, is due to be released by Decca as part of a new album celebrating the career of the tenor superstar who died in 2007. The recording was found in Pavarotti’s personal archives by his widow, Nicoletta Mantovani, and dates back to the tenor’s appearance in 1963 on Sunday Night at the London Palladium, a popular variety show hosted by entertainer Bruce Forsyth. Pavarotti was in London to mark the signing of his first recording contract with Decca and also to make his Royal Opera House debut. While in the British capital, he performed ‘Che gelida manina’ for the live television broadcast.
They were once billed as Opera’s Golden Couple, but the marriage of two of opera’s biggest stars, Angela Gheorghiu and Roberto Alagna has ended in divorce, with startling allegations in an interview with the UK's Independent newspaper in which the soprano asserts that she was a victim of domestic violence. ‘There are things in life you accept from your man,’ Gheorghiu said in the interview, ‘but I did not want to continue to live with the idea that your man is violent.’ In a Facebook posting, Alagna commented that the allegations ‘are without basis and defamatory’, adding that his lawyers were dealing with the matter.
Plácido Domingo is recovering following treatment in hospital in Madrid for a blood clot in his lung in July. This is another of several health scares to have afflicted the 72-year-old singer in recent years. Domingo was forced to cancel several engagements in his busy international schedule, but is expected to be back on form as the new opera season begins.
English National Opera chief executive to step down
19 July 2013, London, UK
Moving on: Loretta Tomasi
Loretta Tomasi, chief executive of English National Opera, has announced that she will step down at the end of 2013. She will have been with ENO for ten years.
ENO has emphasised that Tomasi is moving on for 'personal reasons', and not because of any concerns over the company’s financial health. In January 2013, ENO filed accounts for 2011/12 which revealed it had halved its reserves in order to cover a £2.2m deficit. Meanwhile, on 1 May, entrepreneur Martyn Rose took over as ENO chairman to replace the Arts Council-bound Sir Peter Bazalgette.
The company insists that its finances are heading in the right direction, with a much reduced deficit expected for 2012/13 (accounts are currently under audit before publication) and an expectation that the deficit will be wiped out entirely from 2013/14.
Tomasi herself said of the move: 'This has been an immensely difficult decision to make but after 10 fantastic years – seven as chief executive – it is the right time for me to choose a new path. The board now has to consider what they think is the best way to go about finding the best leader for the company. The important thing is that they find the right person.'
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