Patchy Andrea Chénier

What’s become of David McVicar?  His 2015 production of Giodarno’s Andrea Chénier for the Royal Opera House seems typical of his recent work.  It looks expensive.  It features a starry cast.  He flirts with dramatic risk but in the last analysis it comes off as a bit tame and even sloppy.  Basically when the principals are at the centre of the drama it’s compelling stuff but when they are not it’s not and there are curious inconsistencies.

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Dream team casting

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.

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Porgi amor

 

UoT’s show Porgi amor consisted of a series of staged and costumed scenes from Mozart operas with linking commentary, all designed by Michael Patrick Albano.  The operas ranged from La finta giardiniera to La clemenza di Tito with all the major bases in between covered off.  The emphasis was on ensemble numbers and providing opportunities for as many singers as possible so there was a cast of thousands.  It was well structured, quite slick and there was some very decent singing.  One expects a reasonably high standard from UoT Opera and we got it.  As I usually do with this kind of show I’ll refrain from a play-by-play and just talk about a few highlights and do some “talent spotting”.

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Kaufmann’s Cav and Pag

Jonas Kaufmann made a double role debut as Turiddu and Canio in the classic verismo double bill of Mascagni’s Cavalleria Rusticana and Leoncavallo’s Pagliacci at the Salzbur gEaster Festival in 2015,  The productions were directed by Philipp Stölzl and Christian Thielemann conducted with the Staatskapelle Dresden in the pit.

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Abstract Fidelio

Fidelio is an interesting piece.  The music is great and it has a powerful, very straightforward, plot.  There are no convoluted subplots here.  But there is a lot of spoken dialogue which slows things down.  Is it necessary?  Claus Guth doesn’t think so and in his 2015 Salzburg production he replaces the dialogue with ambient noise and also doubles up Leonora and Don Pizarro with silent actor “shadows”; the former using sign language in the manner of the narrator character in Guth’s Messiah.  It works remarkably well.  The ambient noise sections are quite disturbing and the “shadows” add some depth, especially the frantic signing in the final scene.  Perhaps worth noting that the “noise” contains a lot of very low bass and precise spatial location.  It may need a pretty good sound system to have the intended effect.

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Another cinema experiment

Last night I ventured forth to experience another way of presenting “opera” at the cinema.  It was a film called Jonas Kaufmann – An evening with Puccini and was based around a recording of a concert Herr Kaufmann gave at La Scala last year with the Filarmonica della Scala conducted by Jochen Rieder.  The full program is here.

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And rounding out February

2422-hvorostovsky_1The next couple of weeks have some items of interest. Tonight at 7pm Dmitri Hvostorovsky is singing at Koerner Hall with a program of Russian songs plus some Strauss.  This recital has been getting very good reviews in the US.  On Wednesday there is, after a fashion, a chance to see Jonas Kaufmann in concert.  It’s a cinema broadcast of a La Scala concert from last June and it’s an all Puccini program.  Curiously it’s directed by Brian Large who I had long since thought retired.  It’s being distributed by Arts Alliance who are the folks who do the ROH cinema broadcasts but the Met doesn’t seem to have got heavy on this so you can see it at your local Cineplex.  Full dates and listings are here.  Most Cineplex Odeon’s in the Toronto area have it at 7pm on Wednesday with a lunchtime repeat on March 20th.

The Marriage of Figaro continues at the COC.  Tomorrow night sees the Ensemble Studio performance, which is always fun, with the main cast on stage Tuesday, Thursday and Saturday (4.30pm show and pretty much sold out; as in there are 8 seats going at a lowest price of $258!).