Les Talens Lyriques present rare Dauvergne opera in Versailles
25 November 2011, Versailles, France
'Hercule Mourant' in concert at the Opéra Royal de Versailles
Review by Alexandra Coghlan
The latest addition to Christophe Rousset’s cabinet of baroque curiosities, Antoine Dauvergne’s Hercule Mourant demonstrates the considerable influence (if not quite the genius) of Dauvergne’s teacher, Rameau.
A concert performance at the Opéra Royal in Versailles – the first since the work’s 18th century debut – was led by Veronique Gens, delivering a characteristically assured performance as Hercules’ neglected wife Dejanire. Andrew Foster-Williams rose to the challenge of singing his own death, though his dramatic conviction never quite caught up to his technical skill, and he had a considerable rival in Edwin Crossley-Mercer’s assertive Philoctete.
Unusual orchestral colourings and textural effects – an extended passage of string tremolos for Hercules’ ascension, muted bassoons paired with horns and strings for the sombre cloud that settles of the drama of Act V – give the work an interest it lacks elsewhere. One for the record collection perhaps, but not the opera stage.
London's Royal Opera House launches first digital game
23 November 2011, London, UK
Screenshot: 'The Show Must Go On'
The Royal Opera House has launched a new digital game that allows opera fans to try their hand at being a stage manager.
Created for iPad, iPhone and iPod Touch users, The Show Must Go On is a collaboration with game developer, Hide&Seek. Available as an app, the game includes five different scenarios that challenge the player to retrieve sheet music, assemble props, build the set, light the show and dress the cast – all in a short time before the curtain goes up.
EMI has supplied recordings for the game’s soundtrack, which features artists such as Simon Rattle and Elisabeth Schwarzkopf as well as sound effects recorded at the Royal Opera House.
ROH chief executive, Tony Hall, described the move as ‘a very logical step for us as we increasingly develop our content available across multiple digital platforms.’
ROH to premiere BBC 'Question Time' opera on 22 November
19 November 2011, London, UK
British politician Nick Griffin
By James Waygood
As part of the Royal Opera House’s Opera ‘Exposure’ series, Errollyn Wallen’s new opera Yes receives its world premiere in London next week.
The work is a ‘docu-opera’ focusing on reactions and responses sparked by the infamous occasion in October 2009 when the BBC invited controversial British Nationalist Party leader, Nick Griffin, to appear as a panelist on its televised political forum, Question Time.
The libretto, written by the playwright and critic Bonnie Greer, consists of her personal opinions together with public reaction, exploring the storm of strong views leading up to and following the broadcast. Greer, who was a co-panelist on the programme, described appearing next to Griffin as ‘probably the weirdest and most creepy experience of my life’. She will take part in the opera as herself alongside a cast of nine singers and an instrumental ensemble of seven.
At Tête-á-Tête Opera Festival held at the Riverside Studios in Hammersmith last summer, composer Errollyn Wallen held a seminar discussing her writing process, which included excerpts from Yes. Combining her more lyrical style with contemporary writing, the music is a fusion that is original but accessible and catchy. From what I heard at the preview, Yes is set to be a bold and intriguing approach to issues of multiculturalism, racism and freedom of speech in today’s society.
Performances in the Linbury Studio Theatre from 22 to 26 October
US soprano sings live after being shot
10 November 2011, Memphis, US
A 24-year-old artist in residence with Memphis Opera surprised audiences last month by going ahead with two performances of Tosca – after being mugged and shot in the knee.
Stafford Hartman was attacked two days before the opera’s opening night, but said that she was determined ‘not to be a victim’, so went ahead with her offstage role of the Shepherdess from a wheelchair. She is expected to make a full recovery.
Domingo celebrates 40 years at Covent Garden
28 October 2011, London, UK
Plácido Domingo as Simon Boccanegra at the Royal Opera House(Photo: Catherine Ashmore)
Review by Francis Muzzu
After 230 performances of 26 roles with the Royal Opera, you could excuse Plácido Domingo for resting on his laurels. But at a performance yesterday marking the opera superstar’s fortieth anniversary with the company, he added yet another role to this list, singing the title role in Act 3 of Rigoletto.
The evening started with Act 4 of Otello, where Domingo’s formidable clarion tones overrode worry about the top of the voice. Descending to his current baritonal register, Rigoletto posed less of a problem, as the main burden of performance fell upon others. Next came Act 3 of Simon Boccanegra, which although beautifully phrased and acted, revealed a lack of true baritonal depth and richness. But an ecstatic audience would hear no wrong, and this truly amazing artist received the standing ovation he deserved.
Antonio Pappano offered sterling support in the pit, and particularly good contributions came from Ailyn Pérez and Francesco Meli in Rigoletto, and Paata Burchuladze in Simon Boccanegra.
ROH's Plácido Domingo Celebration will receive a second performance at 3pm on 30 October 2011
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