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Il Divo

Christmas 2014

Latest News

Opera gets into the swim of things

19 May 2009, Manchester, UK

Juliana Snapper dives into opera

The world’s first underwater opera, You Who Will Emerge From the Flood, had its premiere in one of  Manchester’s half-derelict architectural gems, the Victoria Baths. 86,000 gallons of water were pumped in for a single performance of this new ‘operella’ devised by the Los Angeles-based soprano Juliana Snapper and the Parisian composer Andrew Infanti, and presented as part of the city’s gay and lesbian festival  Queer Up North.

Adorned with swathes of white fishnet and silver sequins, Snapper impressed in the role of Blorkra – a genetically engineered aquatic ‘posthuman’ living 500,000 years in the future. She is used to challenging situations having previously worked with the extreme performance artist Ron Athey on The Judas Tree in which she hung upside down singing until her voice collapsed. But on this occasion a faulty underwater microphone rendered at least half of her underwater vocal sequences inaudible so that the unique sound of Snapper’s voice filtered through water, accompanied by percussive bubbles, was drowned out before it could surface.

What was left was a ululating warble, with snatches of intense soprano tones as Snapper glided through a sea of words by Wedekind, Wagner (Erda’s Warning) and Brecht, sung in German and the forgotten, constructed language of Volapük. Infanti’s watered-down score began promisingly enough, drawing on obscure musical systems and pitches, but ended up burbling on inconsequentially. Film footage featured some live projections of Snapper while the Sing or Swim Choir provided a suitably aqueous background to this soggy night at the ‘operella’. As a piece of performance art, You Who…  had distinct potential which was somewhat thwarted by the technical difficulties.

The experiment is not going to spawn a new genre of underwater ‘operellas’, however, and while Juliana Snapper is clearly committed to expanding the boundaries of music theatre, neither the bland pre-recorded score nor the predominantly unengaging visuals seemed to match that keen seriousness of purpose. As a work I think it is likely to sink without trace.  

Lynne Walker  

The Queer Up North festival continues in Manchester until 25 May.

www.queerupnorth.com

Grange Park prepares for UK Premiere of Cavalli Opera

1 May 2009

 

Michael White looks forward to one of the summer's most lively operatic premieres...

Scandalous misdeeds in Ancient Rome, cross-dressing, slap-and-tickle sex.... Cavalli's Eliogabolo, written for the Venice Carnival of 1668 and due for a belated UK premiere at Grange Park opera festival in Hampshire this summer,  sounds like a TV script for Frankie Howerd in the 1970s and is, as its  director David Fielding admits, 'a sort of romp’.

‘But not so much in the way of Up Pompei as I Claudius' adds Christian Curnyn who'll be conducting. ‘There’s tragedy as well as comedy in this piece: after all, the central character ends up assassinated, so it's not all laughs. And in a loose sense  it’s based on history, although the character of Heliogabolus has been cleaned up here and there in the process of turning him into opera.’

Gibbon's Decline and Fall of the Roman Empire sums up Heliogabolus’s reign as ‘inexpressible infamy, beyond that of any other place or time’. Among the many counts on Heliogabolus's charge-sheet are that he drowned his enemies in poisonous petals (a creative death, you'd have to agree), boasted that he never wore the same clothes twice or slept with the same woman, set up an all-female senate for sole purpose of molesting its members, and nonetheless pursued a robustly bi-sexual interest in transvestitism.

This may explain why the piece was apparently never performed during Cavalli's lifetime, though the reasons for its absence from the stage are obscure.  What is known is that it's one of the last Cavalli' operas, composed when Cavalli  was in his mid-60s with long experience as one of the world's first true professionals in opera.

The Grange has seen few performances of Baroque opera beyond Handel’s Rinaldo, and it's a genre that scarcely features on the radar of the company's director Wasfi Kani. ‘But she agreed to Eliogabolo largely because in many ways it isn't quite Baroque,’ says Curnyn. You don't get all those rigid conventions. But you do get very attractive, flowing arioso – though it doesn’t culminate in quite so many tragic laments as you get in earlier Cavalli. There's a lot more comedy...’

Michael White’s full account of Grange Park’s Eliogabolo will appear in the July/August issue of opera Now. Cavalli's opera will receive its UK premiere run at The Grange, Northington (near Winchester) from 4 June to 5 July.

For details of all this year's Grange Park Festival productions, visit www.grangeparkopera.co.uk



Verdi's La traviata at Opera North

8 October 2014, Leeds, UK

Ji-Min Park (Alfredo) and Hye-Youn Lee (Violetta) in 'La traviata' at Opera North
Ji-Min Park (Alfredo) and Hye-Youn Lee (Violetta) in 'La traviata' at Opera North(Photo: Richard H Smith)

Review by Anthony Arblaster

According to one recent survey, Verdi's La traviata is the world's most popular opera, beating Carmen and La bohème to top place.  And when it is done with the direct, focused intensity it gets in this new Opera North production by Alessandro Talevi you can see why. This is one of Verdi's most consistent and coherent dramas, with a palpable feeling of modernity which has not faded after more than a century and a half. No wonder the company has scheduled no fewer than 26 performances of it in five cities over the autumn and winter seasons.

Talevi's production is straightforward, but full of apt detail.  The opening party at Violetta's is more than usually uninhibited, while the pseudo-Spanish charades at Flora's in Act Two – a take-off of Carmen – are for once genuinely entertaining. Costumes are colourful, but the sets are economical, which works well enough except for the scene in the country, backed up by a vast blue sky but with not a hint of trees or nature of any kind.

Violetta and her insecure lover, Alfredo Germont, are played by the two young Koreans featured in last month's Opera Now, Hye-Youn Lee and Ji-Min Park. Park, on the opening night, took time to warm up, but brought eloquent intensity to the role. He is a real actor. Lee's voice is, frankly, not ideal for Violetta. It hardens under pressuure, and is shrill at the top, but has plenty of expressive warmth when it is not forced. Talevi got committed acting and singing from both of them. Roland Wood, as Alfredo's father, is a fine baritone, but was a little too unyielding, given that it is he who defends Violetta against Alfredo's abuse at Flora's, and also sets up the final reconciliation.

The final act, with Dean Robinson as a convincing doctor, was properly devastating in its emotional impact.  Conductor Gianluca Marcianò, making his welcome Opera North debut, got some really warm italianate phrasing from the ON Orchestra.

Opera North’s La traviata runs at Leeds Grand Theatre until 1 November, followed by a tour to Newcastle (Theatre Royal: 12, 14 Nov), Salford Quays (The Lowry: 19, 21 Nov) and Nottingham (Theatre Royal: 26, 28 Nov). Further performances at Leeds Grand Theatre take place in the New Year.


Festival Choice: Lu Festival ti tri Culuri

28 April 2014

Rustic charm: setting the scene for Puglia's new Festival of Three Colours
Rustic charm: setting the scene for Puglia's new Festival of Three Colours(Photo: Mark Glanville)

Report by Mark Glanville

Lu Festival ti tri Culuri (The Festival of Three Colours in Pugliese dialect) is a celebration of the music of a region long blessed by remarkable cultural diversity, from the Greek-speaking and gypsy peoples of Italy's south-east corner, to the Albanians near Taranto and the Provençale speakers in the north of the province. Arabs, Normans, Jews, Angevins and Aragonese have all spent time in Puglia and left their mark there.

Paisiello, Giordano and Piccinni all hail from the region and their works have frequently featured in the programmes of the established Festival della Valle d’Itria which takes place in the noble courtyard of the ducal palace in Martina Franca. Performances at Lu Festival ti Tri Culuri will be given in the grounds of my own rather more rustic country mansion near the beautiful medieval town of Oria.

The original intention had been to run a course where mainly amateur participants would rehearse and perform a production of Carmen, learn local dances such as the pizzica-pizzica and perform a piece of their own choosing (the third colour). But I couldn’t have anticipated the quality of those who came to audition. More used to standing in front of the table of an audition panel than sitting behind one, it was an afternoon of sheer delight for me, beginning with a superb rendition by Rebecca Goulden (our Micaëla) of the Jewel Song from Faust worthy to be heard on any major operatic stage. Another highlight was Liszt’s ‘O quand je dors’ performed by the remarkably mature 20-year-old RCM student Kelly Mathiesson, so poised and moving that I was forced to conceal embarrassed tears. Nor can I quite believe that we have managed to engage the services of our outstanding musical director, Philip Sunderland who has recently been conducting ETO’s Paul Bunyan. Jos Vantyler, a prodigiously talented young actor, will make his directorial debut, moving cast and chorus around the mansion's orange grove, church, courtyard and, of course, garage (a perfect smugglers’ haunt.)

Some may find Carmen an odd or perhaps even uninspired choice, but we didn’t want to overstretch ourselves first time around and given Puglia’s own historic tobacco-growing tradition and not always welcome Spanish presence, it seemed only right to transfer the opera’s action to the region itself.

It’s going to be a crazy week of opera, pizzica, Yiddish song, G & S and whatever other flavours our participants plan to share with us. There are still places available in the chorus and one or two small parts, so if you’re up for a week of sheer diversity and madness, one which, I guarantee, will leave you floating on air a lot more uplifting than Ryan’s, then get in touch!

Mark Glanville's full preview feature about Lu Festival ti tri Culuri will appear in the July/August issue of Opera Now. The inaugural Festival runs from 6 to 12 July 2014


Opera North scores a hit with Puccini's La fanciulla del West

22 January 2014, Leeds, UK

‘Stick’em up’: Alwyn Mellor as Minnie and Rafael Rojas as Dick Johnson
‘Stick’em up’: Alwyn Mellor as Minnie and Rafael Rojas as Dick Johnson(Photo: Clive Barda)

Review by Anthony Arblaster

Of the mature Puccini's seven full-length operas, his tale of the American Gold Rush is probably the most neglected.  When you see and hear it well performed and well produced, as it is in this new staging for Opera North by Aletta Collins, you wonder why. 

Puccini’s La fanciulla del West has fewer of the self-contained arias that you find in more popular operas. It is not a work of pathos, and it is not notably sentimental, even though it does have a happy ending.  However, it abounds in an outpouring of Puccinian melody, and offers three fine singing roles as well as a host of rewarding smaller roles for men.

This is a story with plenty of topical resonances: the Gold Rush miners in the opera are working far from home seeking their fortune, like today’s migrants from eastern Europe, and their homesickness is beautifully expressed in the Act I song of travelling cowboy-minstrel Jake Wallace (baritone Gavan Ring). The threat of lawless violence is always present, and in Act III, the miners turn into a lynch mob ready to string up Ramerrez, the ‘Mexican’ bandit who arouses their racist hostility.

Aletta Collins wisely sticks with the opera's original Californian setting, which is evoked in Giles Cadle's simple but effective sets and in Gabrielle Dalton's subtly varied costumes.  Collins's handling of the ensemble scenes which open and close the action is masterly, and rich with significant detail.

Much hangs on the casting of the three principal roles, and here Opera North has come up trumps.  The Sheriff, Jack Rance (in effect the local Scarpia), is ruthless, unscrupulous and consumed with desire for feisty saloon proprietor Minnie. Robert Hayward has all the vocal power needed for the role, and invests it with spine-chilling menace.

Minnie finds the man she really wants in Ramerrez, who disguises himself by the name of Dick Johnson. Rafael Rojas – Mexican by birth – makes him an entirely credible and sympathetic character.  His Italianate tenor has really blossomed and is a treat to hear.

Soprano Alwyn Mellor takes the title role, the lone woman who rescues Ramerrrez and brings out the better side in the miners whom she tries to educate.  She fills it splendidly, and makes a believable heroine. The scenes at the heart of the opera, in which she and Ramerrez get to know each other, are beautifully sung and acted.

This show deserves to become something of a classic, especially under the dynamic yet sensitive conducting of Richard Farnes.

Opera North's The Girl of the Golden West continues at Leeds Grand Theatre until 21 February. The production then tours to Nottingham, Salford Quays and Newcastle between 5 and 21 March.



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