World Premiere - Before Night Falls at Fort Worth Opera
31 May 2010, Texas, USA
Wes Mason as Reinaldo Arenas in the world premiere of 'Before Night Falls'(Photo: Fort Worth Opera)
Opera Now correspondent, Chris Shull, attended the opening night of Jorge Martín's Before Night Falls at the 2010 Fort Worth Opera Festival and writes:
"The new opera Before Night Falls by Cuban-American composer Jorge Martín, based on the impassioned memoir of gay Cuban dissident poet Reinaldo Arenas, was enthusiastically received at its world premiere on Saturday 29 May at Fort Worth Opera in Texas.
"But an evocative score setting traditional Cuban dances alongside accessible contemporary sounds - and a deeply-felt performance by a committed young cast - could not overcome a libretto that traced only surface emotions."
Chris Shull's full review of Before Night Falls will be published in the September/October issue of Opera Now.
BBC Radio 3 presents five essays about opera
31 May 2010, London, UK
Michael Chance(Photo: Gerald Place)
The BBC’s major new series, A Passion For Opera, continues on BBC Radio 3 this week with five 15-minute essays written and narrated by eminent figures from the world of opera, broadcast daily at 23:00 BST.
Opera Now readers should already be very familiar with three names on the roster: Opera Now Editor-in-Chief, Ashutosh Khandekar, and Contributing Editors, Tom Sutcliffe and Robert Thicknesse.
The series also features English countertenor, Michael Chance, and Matt Peacock, Chief Executive of the London-based community arts initiative, Streetwise Opera.
Each speaker will explore a different aspect of their experience of opera, beginning tonight with Tom Sutcliffe speaking about the paradoxically intimate quality of this spectacular multimedia art form.
Tomorrow’s broadcast by Matt Peacock’s looks at the potentially life-changing social impact of opera, while on Wednesday Robert Thicknesse will reveal why he has become disillusioned with some aspects of the opera world.
Ashutosh Khandekar’s personal account of his early experiences of opera on Thursday and Michael Chance’s ‘confessions of a long distance opera singer’ on Friday bring the week to a close.
Each of the essays will be available via the BBC’s ‘Listen Again’ facility for 7 days after broadcast.
- Opera on the BBC
- Essay 1 – Tom Sutcliffe
- Essay 2 – Matt Peacock
- Essay 3 – Robert Thicknesse
- Essay 4 – Ashutosh Khandekar
- Essay 5 – Michael Chance
London's Opera Holland Park 2010
27 May 2010, London, UK
Commentary by Opera Holland Park General Manager, Michael Volpe
“Opera is a buzz word at the moment, and the media in the UK have jumped on the bandwagon with enthusiasm: the BBC have a special focus on opera through the summer, (though anyone who saw rival channel ITV’s attempt to get into the classical music groove could have easily thought it had all been dreamt up during a particularly unfocused session down the pub). Meanwhile, there are productions opening in droves in the first week of June across the UK as the summer season gets under way.
“Here at Opera Holland Park, in one of Central London’s finest stretches of green, unspoilt nature, we find ourselves pitching headlong into another season with trepidation, unbounded enthusiasm and, as is ever more frequently the case, nerves of steel.
“Our final two shows would be a challenge to the biggest companies in the world: Francesca da Rimini certainly fulfils the stereotype of the giovane scuola opera by having a cast of thousands – and all of them with a line to sing. Not that our two season openers (Pelléas et Mélisande and Carmen) can be described as a walk in the park either.
“Meanwhile, we don’t often do revivals but Oliver Fuchs' production of Fidelio was a massive success in 2003, and the time seems absolutely right to unleash it on the London audience again.
“All in all, we’ve got a particularly brilliant season in prospect, with a huge variety of work and a strong thread joining the first and final productions.
“And just in case you’re worried about what all this might do to your holiday spending money, we are tossing £10 seats tickets around like confetti as well as offering free seats to people who wouldn’t otherwise have the means to come to an opera. Speaking of which, our new INSPIRE Project, bringing awareness to new audiences, is in overdrive at present; we do all of this and still find time to plan the 2012 Season.
“I’m looking forward to so many aspects of the 2010 Season which, after so long in this job, can only be a good sign. I still love being in our space as well – OHP’s theatre one of the most beautiful structures in the capital in my humble opinion.”
- Opera Holland Park
- Podcast - Listen to Opera Now Contributing Editor, Robert Thicknesse, chatting to Mike Volpe about Francesca da Rimini
- London opera festival all set to ‘INSPIRE’
The July/August issue of Opera Now will include a preview of Francesca da Rimini, featuring an interview with conductor, Philip Thomas.
Royal Danish Opera appoints new artistic director
24 May 2010
Keith Warner(Photo: Caspar Balslev)
British director Keith Warner has been appointed as the new artistic director of the Royal Danish Opera, succeeding Kasper Holton, who has held the post since 1999.
Warner’s tenure will begin in August 2011, but he will start work immediately as a consultant to advise the company on repertoire decisions for future seasons.
Described as an “artistic beacon” by Erik Jacobson, Director of the Royal Danish Theatre, Warner was unanimously selected by the hiring committee from a list of 47 candidates. He has previously directed Don Giovanni (2006) and Wozzeck (2008) for the Royal Danish Opera.
Opera Now Contributing Editor, Tom Sutcliffe, who has worked with Warner on several past productions believes that “this appointment reflects genuine confidence in Keith’s knowledge of the whole repertoire and his supreme professionalism. But also there is no question that many of his productions are simply first rate – that he is a modern director who has interesting things to say about the operas he's staging, but also who wants those operas to come alive in their own terms not to be changed into something they never expected to be and often cannot be.”
The Chairman of the Board of Royal Danish Opera, Lars Pallesen, certainly hopes that Warner’s appointment will help “to establish the company in the international elite”, but, says Sutcliffe, “Copenhagen is not going to change radically” under Warner’s leadership: “It is constrained by the fact that it is a national company setting the tone in a small nation of around 5 million people. The casting and the company are being subsidised by the Danish taxpayer to be identifiably Danish.”
On the other hand, Sutcliffe concedes that “having a Brit as artistic director (for the second time – Elaine Padmore was also there from 1993-9) is a gesture towards the international in standards and aspirations that does not undermine the company’s Danishness to any great extent.”
Pointing to the fact that Warner is one of the only British directors to have worked successfully in Bayreuth whilst also being “a believer in the popularisation of opera”, Sutcliffe says that his approach is characterized by some “very special qualities”: he is a “generous collaborator” with “considerable judgment and competence about casting”, plus “the sort of man who does work for almost no money when he believes in the cause. And above all he is fun to be with.”
Magic tricks - Rossini's Armida at The Met
19 May 2010, New York, USA
Renée Fleming as Armida(Photo: Ken Howard)
Report by Heidi Waleson
Rossini’s Armida, the Metropolitan Opera’s final new production of the Season and a company premiere, was mounted for its star soprano, Renée Fleming. The tale of a sorceress who ensnares a Crusader, Rinaldo, and turns him from his proper military path, the conquest of Jerusalem, Armida is a showcase for singers: six tenors surround the soprano, in a tour de force role that Rossini wrote for Isabella Colbran, and a lot of very florid, high-wire vocalism is required from everyone. It would probably work better in a smaller house, where these ever-escalating pyrotechnics would be more immediate for the audience. Fleming can sing the notes, and she sounded lovely in the lyrical passages, but her voice didn’t display the kind of incisive edge and fiery precision that makes this repertoire truly exciting. Nor is she terribly believable as a villain. She was clearly having a fine time wielding her magic wand and bending tenors to her will, but even in her final rage aria, it all seemed to be happening in the spirit of fun.
The six excellent Rossini tenors included Lawrence Brownlee as the bewitched Rinaldo, whose elegant lyricism blended well with Fleming’s, José Manuel Zapata, who displayed a big, ringing sound as Gernando, a jealous knight killed off by Rinaldo in Act I (he and Brownlee also had an enjoyable vocal battle, complete with dueling high notes), and John Osborn, imposing as Goffredo, the head Crusader.
Two more fine tenors, Kobie van Rensburg and Barry Banks, turned up in Act III as knights determined to rescue Rinaldo from Armida; they sang a show-stopping trio with him. Yeghishe Manucharyan had a brief but impressive appearance in Act I as Eustazio, Goffredo’s brother. The lower-voiced villains were bass Peter Volpe as Idraote, Armida’s uncle and bass-baritone Keith Miller even danced a bit as Astarotte, the leader of her demon followers. Riccardo Frizza’s conducting was regrettably pedestrian, but there was some fine solo playing from the pit.
Much of the plot, such as it is, revolves around Armida’s magic, but director Mary Zimmerman’s production was low on enchantment. Designer Richard Hudson created a classical semicircular wall with doors, dressed up with a few extras touches, such as a field of poppies and some gigantic birds and insects, and Brian MacDevitt supplied some lighting changes to suggest the Crusaders’ camp or the pleasure palace that Armida conjures up for her captive. The knights stood around in red Crusader gear and armor, and much of the character interaction was symbolic rather than real.
Indeed, the production tone was slightly satirical throughout. Some of the most effective moments were pure fun, such as Armida’s lizard-like dancing and singing demons, with horns, scales and long skinny tails. The Met chorus proved wonderfully game here, participating in the snaky choreography by Graciela Daniele. Opera ballets are usually either a snooze or an embarrassment, but Daniele and associate choreographer Daniel Pelzig worked wonders, and the lengthy Act II ballet, in the pleasure palace, was a witty re-enactment of Armida’s conquest of Rinaldo, complete with lissome maidens and leaping lizards in tutus. If only the opera’s dramatic moments – and Fleming’s singing – had been as lively.
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