Opera Boston closes without warning
10 January 2012, Boston, US
Opera Boston’s last general director, Lesley Koenig(Photo: David Allen)
Financial difficulties have forced the second largest opera company in Boston to shut permanently. Opera Boston’s announcement came shortly before Christmas, and operations ceased on 1 January.
The company had given no prior warning that it was in trouble, however a statement issued by Opera Boston’s board on 4 January revealed that it had suffered its largest budget deficit ever in the financial year ending 31 July 2011, amounting to more than $222,500. ‘This,’ read the statement, ‘was the result of several factors converging at once: a tough economy; weak individual ticket sales; diminishing individual, foundation and corporate support; growing overheads and rising production costs.’
Meanwhile, a report in the Boston Globe has suggested that responsibility for the closure rests with Opera Boston’s last general director, Lesley Koenig, who is said to have alienated one of the company’s biggest private donors. Opera Boston denies this claim.
Founded in 1993, Opera Boston was best known for its unusual repertoire choices, such as the 2010 world premiere commission of Madame White Snake by Zhou Long, which went on to win the 2011 Pulitzer Prize for Music.
Opening night at La Scala: Mozart's Don Giovanni
13 December 2011, Milan, Italy
Bryn Terfel (Leporello) with Peter Mattei (Don Giovanni)
Anna Netrebko (Donna Anna)
Review by Courtney Smith
Photos by Brescia e Amisano/Teatro alla Scala
Robert Carsen’s new production of Mozart’s cautionary tale Don Giovanni, which launched Teatro alla Scala’s 2011/12 season on 7 December in Milan, unfolded as a Hollywood parable – if you're rich and famous enough, you can get away with murder. It’s an allegory that reverberates strongly with Italians who are reeling from the aftermath of Silvio Berlusconi’s 17-year reign as a notorious Don Juan figure.
Berlusconi’s replacement, former economist Mario Monti, joined Italy’s President, Giorgio Napolitano in the Royal Box to show Italy that arts funding will not be threatened as it was under Berlusconi’s government. After the recent proposal of Monti's 30-billion-euro austerity package, La Scala’s elegant foyer was packed with a sober crowd in understated dress – by opening night standard, at least.
Carsen always bring big ideas to opera, but source material for Don Giovanni is clear: he’s the 'dissoluto punito' (punished rake). Instead, Carsen’s Don went unpunished for his immoral behavior and appeared in the finale to smugly send the ensemble to hell in his place with the point of a finger. The mediated rewrite stripped Da Ponte’s multilayered archetypes of free will and emotional connections were broken.
Carsen’s mise-en-scène was austere, set entirely in Teatro alla Scala – its stage and its guts. Self-referential landscape comprised of stage curtains on rolling panels, photo panoramas of the theater’s auditorium, and a stage-sized mirror. As Don Giovanni's lies compounded, scenery layers stretched to infinity, culminating in Donna Elvira's Act II 'In quali eccessi, o Numi'.
Boasting a star-studded cast, tickets evaporated in minutes. Peter Mattei was in strong form as deux ex machina Don Giovanni, an aloof seducer who pulled the strings of all those in his orbit. Bryn Terfel as Leporello expertly balanced buffoonery and severity.
Anna Netrebko bowed her La Scala premiere as a confident Donna Anna in rich color and striking vocal power. She was paired with Don Ottavio sung earnestly by Giuseppe Filianoti. Barbara Frittoli sang Donna Elvira as a jealous, insecure stalker in lush, warm voice. Il Commendatore as Kwangchul Youn made a big presence in a compacted role. Masetto and Zerlina, sung by Štefan Kocánand Anna Prohaska respectively, were the weakest.
Daniel Barenboim took the podium for the first time as Teatro alla Scala’s new Music Director, but seemed unsure if Mozart’s dramma giocoso should be conducted as drama or tragedy. Uneven with idiosyncratic tempos, Act I dragged at such a slow pace that when Barenboim took the podium for Act II, an audience member from the famous loggione gallery levels shouted 'troppo lento' ('too slow').
Despite some stunningly re-scripted moments – Act I’s funeral of Il Commendatore had been transported to a church and Scene IV’s lavish ball was genius in its progressive breakdown – Carsen’s partiality to the dapper Don’s immorality earned him boos during the curtain call, as well as Barenboim for his indecisiveness.
Chicago Opera Theater appoints new director
13 December 2011, Chicago, US
Chicago Opera Theater has appointed Andreas Mitisek as the company’s general director. Mitisek is currently the artistic and general director of Long Beach Opera, and will continue in this position alongside his new appointment.
At LBO, Mitisek has established a reputation for edgy and dynamic productions whilst also doubling the company’s budget and eliminating a longstanding deficit.
Marc Scorca,CEO of Opera America, welcomed the news and said that he expected ‘both organizations and the communities they serve to benefit from shared productions as well as Andreas' dynamic leadership and artistic vision’.
Thomas Allen celebrates 40 years at Covent Garden
13 December 2011, London, UK
Thomas Allen as Alfonso(Photo: Bill Cooper)
Thomas Allen is celebrating the 40th anniversary of his debut at London’s Royal Opera House this month. Between 27 January and 10 February he will give six performances as Alfonso in Jonathan Miller’s classic production of Così fan tutte.
The British baritone has sung more than 50 roles at Covent Garden since his debut as Donald in Britten’s Billy Budd. He is particularly known for his performances as Mozart's Don Giovanni and Don Alfonso.
Allen was made a Knight Bachelor in 1999 and recently became Chancellor of Durham University.
Bartoli takes helm of Salzburg Whitsun Festival
13 December 2011, Salzburg, Austria
Cecilia Bartoli(Photo: Alberto Venzago)
In her first piece of programming as the artistic director of Salzburg Whitsun Festival, Cecilia Bartoli has chosen an Egyptian theme. From 25 to 28 May, the festival will bring together a stellar list of artists to perform works inspired by ‘Cleopatra – the legendary woman of a thousand faces’, including a new production of Handel’s Giulio Cesare in Egitto starring Bartoli herself as Cleopatra opposite Andreas Scholl’s Cesar.
Other highlights include a concert performance of Massenet’s Cléopâtre sung by Sophie Koch, Berlioz’s La Mort de Cléopâtre with Vesselina Kasarova and the Bavarian Radio Symphony Orchestra under John Eliot Gardiner, and a closing concert featuring Anna Netrebko with the orchestra of the Mariinsky Theatre conducted by Valery Gergiev.
Reflecting the festival’s commitment to commissioning new work, Netrebko will also give the world premiere of Kleopatra i zmeja (Cleopatra and the asp) for soprano and orchestra by the Russian composer, Rodion Shchedrin.
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