There’s been a lot of opera related programming broadcast on BBC TV recently. Probably the biggest event was Jonas Kaufmann’s role debut as Otello in the Verdi opera conducted by Antonio Pappano but there’s also been a 90 minute documentary on Kaufmann and a two part series called Lucy Worsley’s Nights at the Opera and a broadcast of Brett Dean’s new Hamlet from Glyndebourne. I haven’t yet watched the Hamlet but here are some thoughts on the other three shows, plus an extra bonus.
Todays concert in the UoT’s Thursdays at Noon series at Walter Hall was given by baritone Giles Tomkins, soprano Elizabeth McDonald, pianist Kathryn Tremills, clarinettist Peter Stoll and cellist Lydia Munchinsky. The music they played was sometimes in familiar combinations of players and sometimes very much not. Hence the title.
Daniele Abbado’s production of Verdi’s Nabucco, recorded at Covent Garden in 2013 was the vehicle for Placido Domingo taking on yet another Verdi baritone role. It’s set in the 1940’s because, Jews. At least it’s costumed that way because nothing else about the production has any kind of sense of time or place. It’s virtually monochrome and quite abstract. The Temple is represented by a set of upright rectangular blocks which are toppled at the appropriate moment. The idol of Baal is a sort of wire frame that comes apart rather undramatically and so on. There’s also nothing in the direction to suggest any kind of concept. It’s quite straightforward with rather a lot of “park and bark”. There’s some use of video projections behind and above the action but it’s rather hard to figure them out on video as they tend to appear in shot rather fleetingly.
I’m never quite sure what I think about large scale outdoor opera performances but the Macerata Opera festival’s 2016 production of Verdi’s Otello staged in the Arena Sferisterio comes over rather well on video. It’s a complete contrast with the Salzburg production I reviewed a few days ago. This is large scale “red in tooth and claw” Verdi. There is none of the subtlety of the Salzburg performances but it is spectacular and quite exciting.
Vincent Brossard’s production of Verdi’s Otello for the 2016 Salzburg Easter Festival is both elegant and subtle; the latter quality being backed up by superb singing and acting from the principals. In many ways the production is clean and straightforward with a focus on character development but it also makes use of elegant lines and sharply contrasting darks and lights in creating the stage picture. There’s also a really cool use of mirrors during Già nella notte densa that I can’t quite figure out.
The 2014 recording of Verdi’s La forza del destino from the Bayerischen Staatsoper has the kind of cast one hardly dares dream of. The elusive Anja Harteros sings Leonora with the almost equally hard to catch Jonas Kaufmann as Alvaro. Chucking in Ludovic Tézier as Don Carlo and Vitalij Kowaljow doubling the Marchese and Padre Guardiano only improves matters and the rest of the cast is very good indeed. It was pretty much sure to be a winner and it is.
Yesterday afternoon’s Mazzoleni Songmasters concert featured local tenor Andrew Haji and Welsh baritone Jason Howard in a program somewhat loosely linked to England. Neither singer was, I think, 100% well (Haji’s cold was announced, Howrad’s merely obvious!) but both battled through manfully and gave us some fine singing. There were some interesting contrasts especially in the first half of the program. Andrew kicked off with Francesco Santoliquido’s I canti della sera. I’m no expert on Italian art song but these did sound like songs rather than opera arias, at least in the hands of Andrew and Rachel Andrist. In contrast, Jason’s set (Tosti’s L’ultima canzone, Respighi’s Nebbie, Tosti’s L’ideale and Verdi’s In solitaria stanza), with Robert Kortgaard sounded distinctly operatic and suited Jason’s darkish voice rather well.
Today’s noon recitalists in the RBA were Andrew Haji and Liz Upchurch. We had been promised Britten’s Serenade but an absence of non-knackered horn players due to the COC’s Götterdämmerung run scuppered that and instead we got a very varied program of songs and arias on the theme of love and its travails. Four Brahms songs kicked things off and produced some very fine lieder singing. Beautiful throughout with fine phrasing, characterisation and diction there was more. The final “wonnewoll” of Wie bist du, meine Königin was a thing of floaty beauty and there was a real sense of ecstasy in Mein Liebe ist grün.
Last night the Canadian Opera Company announced the line up for the 2017/18 season. It was all pretty much as predicted. My predictions post got five out of six right and Dylan was right on the money down to timing. So what do we get?
The fall season features, finally, Tim Albery’s production of Strauss’ Arabella first seen at Santa Fe. Erin Wall, as expected, takes the title role while Jane Archibald, in one of three season appearances, sings Zdenka. The Mandryka will be one of the few high profile imports, Tomasz Konieczny. There are welcome appearances for David Pomery as Matteo and Claire de Sevigné as Flakermilli. It’s a season full of Ensemble Studio graduates. Patrick Lange conducts. Partnering Arabella is Donizetti’s L’elisir d’amore in a production by James Robinson adapted to set the piece in pre WW1 Niagara on the Lake. Simone Osborne and Andrew Haji play Adina and Nemorino with Gordon Bintner as Belcore. This is, I think, the first time I’ve seen husband and wife as soloists at the COC though the Pomeroys have been seen on stage together quite a few times. Brit Andrew Shore rounds things out as Dulcemara. Yves Abel makes his COC debut in the pit.
I’ve just been listening to Revive; a new recital disk from Elina Garanča. It marks her move into more dramatic territory as she enters her fifth decade. It also says quite a lot about how she wants to develop her career. There’s a very personal introductory essay titled Strong Women in Moments of Weakness and it seems to me that she’s looking to find her place in the 19th century French/Italian romantic/verismo repertoire as opposed to, say, Strauss or Wagner. Certainly the pieces on the disk represent roles like Eboli, Didon, Delila and Hérodiade, as well as some more obscure stuff like Musette from the Leoncavallo La Bohème and Anne from Saint-Saëns Henry VIII.
operaramblings 