Category: Performances

In an age where youth and haste are prized, this is anachronistic: Claudio Abbado, at the age of 72, is conducting his first Magic Flute. Paradoxically, it would be hard to imagine the piece sounding fresher, more limber or agile.

Por primera vez en México y con una producción fastuosa como se ha presentado en Nueva York se presentará en el Teatro de la Ciudad la ópera “Rigoletto” de Giuseppe Verdi.

Rigoletto was condemned by the governor of Venice as a deplorable, repugnant, obscene triviality. We live in more enlightened times: Compared to Desperate Housewives, Giuseppe Verdi’s tale of seduction, vengeance, corruption and murder is a walk in the park.

IT IS 35 years since Sir Peter Hall’s first Glyndebourne production, 21 since he became director of productions and 15 since he stormed out. Two of his productions are playing this year, including this curtainraiser; it makes you wonder what is going on there.

Conductor Charles Mackerras is 80 later this year, a fact he is seemingly already celebrating with multiple performances of Mozart’s Die Zauberflöte. Hard on the heels of a revival at Covent Garden and a new recording for Chandos comes a second revival at Glyndebourne, which, purely in terms of conducting and playing, is well nigh exemplary. Mackerras’s interpretation of Zauberflöte has always combined serenity with great wit, and his deployment here of the Orchestra of the Age of Enlightenment adds an extra emotional dimension, with the darker sound of period instruments creating a mood of spiritual austerity that offsets the score’s humour and humane warmth.

I never “got” I Masnadieri; not even in the wonderful Bergonzi-Caballé recording I bought the moment it appeared in 1975. I had a feeling that for once Verdi had lost his unbelievable magic as a tune-smith. Corsaro, Giorno di Regno, Battaglia, Alzira etc. all sounded familiar after a few playings but Masnadieri never got under my skin with the exception of the rousing tenor cabaletta and the soprano’s aria. I was in good company as even Budden in his well-known analysis of the opera speaks of “a seemingly backward step.” Well, the good news is that Verdi of course knew it better and that the opera really works in a professional production with acceptable singers.

When the irascible W.S. Gilbert was directing this break-through operetta, he admonished a soprano: “This is not Italian opera. It is only a low burlesque of the worst possible kind.”

There are two reasons the rising Russian superstar Evgeny Nikitin should not sing Don Giovanni. One is his obfuscated, typically Slav diction in Italian, the other the difficulty his impressive voice has in spinning exposed Mozartian line. Both defects would disqualify him on a recording but, in the magical world of live opera, Nikitin’s animal magnetism helps us understand what the fuss is all about.

Blouson vert pomme, jeans bleus, corsage fuchsia, cheveux courts et roux couronnant une taille imposante, Susan Graham joue sans affectation l’Américaine à Paris dans les couloirs austères et académiques de l’Opéra Garnier. Dans quelques jours, elle interprétera le rôle de Sesto (Sextus) de La Clémence de Titus dans une mise en scène déjà représentée à Salzbourg en 1994 où elle était alors Annio (Annius). «J’ai eu la chance d’avoir de grands professeurs pour cet opéra, explique-t-elle, puisque j’ai tenu trois fois le rôle d’Annio alors que Sesto était chanté par Tatiana Troyanos, Ann Murray et Frederica von Stade. J’ai toujours dans l’oreille les inflexions et l’intensité de Tatiana. C’était ma première apparition professionnelle à Chicago, en 1989…»

Paul McCreesh’s approach to Bach’s last major choral work is about as far removed as possible from traditional heavyweight performances of the B minor Mass, and distinctly different from the approach of many of his period-instrument peers as well. For this superbly energised account, the Gabrieli Consort consisted of just 10 singers, divided equally into a ripieno, which provided the soloists, and a consort, which joined in for the large-scale numbers. The orchestra was just over twice that size. This minimalist approach produced gains in equality between voices and orchestras, and marvellous clarity in the contrapuntal writing. It also enabled McCreesh to adopt tempi that would have had a larger choir tied in knots.