Puccini called his work “La Rondine” a “commedia lirica,” effectively COMIC opera, but I consider it a TRAGEDY that this work isn’t performed more in the opera house.

“La Rondine” comprises some of the most exquisite, emotive music the maestro ever penned. Alas, devoid of the dramatic impact and impetus of his more famous, regularly performed works, it is scarcely deemed worthy of staging by impresarios, given its lightweight theme: a doomed romance with no histrionic turn of events or tragic deaths.

Maestro Sir Antonio Pappano gave no thoughts to such trivial matters as he took to the podium at the Barbican in London however, where he commanded the London Symphony Orchestra (LSO) and a cast of singers in a concert version of the work.

Mainly obscured, as he invariably was in the opera house pit, it was a joy to see him, literally, under the spotlight and in full view. It is indeed a sight to behold, watching him at work, an elite marionettist pulling ALL the strings of his players, gesturing here, pointing there, driving his charges, dancing, gesticulating, prancing, at times so animated that I feared he would lose his footing and fall from his small, confined podium. That he is a musical genius is inarguable. The passion for what he does emanates from his very being, an almost tangible aura surrounding his enthusiastic, vibrant form.

The LSO itself, led by Pappano since September of this year, were quite majestic; again, the experience enhanced somewhat by virtue of being on full view, turning out Puccini’s score with exquisite care and attention.

Whether or not the lack of any requirement to concentrate on staging positions or real direction served to enhance or focus the singing performance of the artists, I can not say, except to state that this proved to be a euphonious delight, vocally.

Spectacular Singing

Nadine Sierra was penned in to perform the role of Magda, but she is in recovery from a medical procedure. Instead, Bolivian-Albanian soprano Carolina López Moreno  performed the role of Magda and positively shone here as the Parisian courtesan. She may have been a stand-in, but she had no need to refer to the score, singing with glorious aplomb. She possesses a shimmering tone, often voluminous, with a radiant, top. She delivered an exquisite “Ore dolci e divine” and her signature aria “Chi il Bel Sogno di Doretta?” was sublime, receiving much deserved applause.

Her chief admirer, Ruggero, was performed by the renowned American tenor Michael Fabiano who cut a rather studious, serious first impression with his bespectacled form. Vocally, seemingly hesitant in the early stages with his “Parigi! È la città dei desideri,” he soon blossomed to produce a fine and very sweet accompaniment in “Nella dolce carezza della danza” before producing a most sudden, unexpected and ardently pressed kiss that appeared to even take Carolina by surprise!

His powerful line and silvery top came into further prominence in the “Bevo al tuo fresco sorriso” quartet where his piercing tone cut through both the orchestration and eager chorus. He impressed throughout the evening, delivering a contemplative “Dimmi che vuoi seguirmi” which managed to avoid the usual, overly saccharine sentimentality. His “Ma come puoi lasciarmi se mi struggo in pianto” where he begs Magda not to leave him was genuinely moving and, for me, was one of the key highlights of the evening.

By contrast, the other lovebirds in the equation, supercilious poet Prunier and his secret on/off lover Lisette, maid to Magda, performed by American tenor Paul Appleby and Italian soprano Serena Gamberoni respectively, ham it up for laughs. Appleby has a fine, shiny bright tenor instrument with which he impresses throughout the whole first act. In fact, until Ruggero makes his entrance later in Act one, he holds the pivotal role as the lead tenor. He sets the stage and to a degree, the characters on it. His “Forse, come la rondine” was especially warm and enchanting, but his triumphs lay in his melodramatic yet witty retorts, along with the comedic squabbles with his girlfriend Lisette.

Gamberoni has a strong, expressive soprano and combined with her jocoseness, probably epitomized to perfection what Puccini meant by “commedia lirica”. Whether entering or exiting the stage, she did so with comical gusto.

More Performance Highlights

British baritone Ashley Riches takes on the role of Rambaldo, Magda’s wealthy ‘protector’. Cutting a very tall figure, he is suitably austere and constraining and sings his lines with rich, dark resonance.
Sarah Dufresne, Angela Schisano and Marvic Monreal are the essential party girls who give the whole show the requisite, essential sparkle, beauties for the eyes as well as the ears. I have frequently pondered why; after having seen her excel on a number of occasions now, Canadian soprano and former Jette Parker Alumna Sarah Dufresne has not been contracted to perform more substantial roles in the house. She has a voice of pure crystal, exquisitely polished, clarion and attention grabbing and I am always left wishing I could hear more of her.

The London Symphony Orchestra chorus made invaluable contributions here, not just with their delightfully engaging swaying during certain passages, but especially during the final passages of the “Bevo al tuo fresco sorriso” where the sheer wall of sound produced, quite literally, took one’s breath away. Possibly not surprising, given that their numbers were close to NINETY strong!

Whoever labelled “La Rondine” a “poor man’s ‘Traviata’” never lived, and certainly never loved. For what makes this underplayed mini-masterpiece so special is, frustratingly, the very reasons it is seldom staged. It is devoid of all the overly-melodramatic, theatrical murders, suicides and completely improbable tales of woe that are the hallmarks of most operas. Yet in its uncomplicated, simple story of near-tangible heartbreak, it is all the more potent for it. It is genuine. Real. TRUE verismo.
It’s NOT a “poor man’s Traviata.” It’s pure, unbridled richness for everyone.

The post London Symphony Orchestra 2024-25 Review: La Rondine appeared first on OperaWire.

The orchestra said, “Nadine Sierra has had a recent medical procedure, the recovery from which is taking longer than anticipated. She has therefore had to withdraw from the LSO’s performances of ‘La Rondine’ on 10 and 12 December. The role of Magda will now be sung by Carolina López Moreno.”

Moreno has performed at the Puccini Festival Torre del Lago, Carnegie Hall, the Metropolitan Club, the Berliner Philharmonie, the Jugendstil-Festhalle Landau, and Cambridge University in England, among others. She has performed the works of Offenbach, Verdi, Mascagni, Leoncavallo, Mercadante, Poulenc, Puccini, and Nino Rota.

Moreno is set to join a cast that includes Serena Gamberoni, Michael Fabiano, Paul Appleby, and Ashley Riches. Sir Antonio Pappano conducts the London Symphony Orchestra.

The post London Symphony Orchestra Announces Cast Change for ‘La Rondine’ appeared first on OperaWire.

The production, which premiered in 2022, is directed by Mario Martone and was the first time since 2004 that the opera had been performed at the legendary Milanese theater.

Sonya Yoncheva and Roberto Alagna led the starry cast which also included Serena Gamberoni and George Petean. Marco Armiliato conducted the rarely performed score.

Of the production, OperaWire wrote, “Sonya Yoncheva & Roberto Alagna are Devastatingly Brilliant in New Production by Mario Martone.” The historic run of performances marked Yoncheva’s role debut in the title role and marked Roberto Alagna’s big return to the Teatro alla Scala since 2006.

LaScalaTV currently has productions of “Il Matrimonio Segreto,” “Don Giovanni,” “I Capuleti e i Montecchi” currently available.

The post LaScalaTV Releases Sonya Yoncheva & Roberto Alagna’s ‘Fedora’ appeared first on OperaWire.

Opera

Claudia Pavone stars in Puccini’s “Madama Butterfly” alongside Irene Savignano, Angelo Villari, and Alessandro Luongo. Leo Nucci directs the production and Matteo Beltrami conducts.

Performance Dates: Dec. 15-22, 2024

Raffaele Pe, Marie Lys, Davide Giangregorio, Delphine Galou, Filippo Mineccia, Federico Fiorio, Enrico Torre, and Clemente Antonio Daliotti star in Händel’s “Giulio Cesare.” Ottavio Dantone conducts the production by Chiara Muti.

Performance Dates: Jan. 26-Feb. 2, 2025

Luca Salsi and Nelson Calzi headline a recital.

Performance Dates: Jan. 28, 2025

Mascagni’s “Cavalleria Risticana” and Leoncavallo’s “Pagaliacci” will be performed in a double bill. Plamen Kartaloff directs the production, which will star Teresa Romano, Francesca Cucuzza, Angelo Villari, Ernesto Petti, Daniela Schillaci, and Giuseppe Infantino. Aldo Sisillo conducts.

Performance Dates: March 22-30, 2025

Massimo Raccanelli conducts Mozart’s “Die Zauberflöte,” which stars Antonio Mandrillo, Leonor Bonilla, Dmitrii Grigorev, Claudia Urru, Gianluca Failla, and Alessandra Adorno. Marco Bellussi conducts.

Performance Dates: April 6-13, 2025

Concerts

Giulio Prandi conducts Fauré’s “Requiem” with Serena Gamberoni and Giuseppe Todisco.

Performance Date: April 4, 2025

The post Claudia Pavone, Luca Salsi, Teresa Romano & Angelo Villari Lead Teatro Municipale di Piacenza’s 2024-25 Season appeared first on OperaWire.

Opera

The season opens with Verdi’s “La Forza del Destino” starring Anna Netrebko, Jonas Kaufmann, Ludovic Tézier, Vasilisa Berzhanskaya, Alexander Vinogradov, and Marco Filippo Romano. Riccardo Chailly conducts the new production by Leo Muscato. The opera will also star Elena Stikhina, Amartuvshin Enkhbat, Luciano Ganci, and Simon Lim in the second cast.

Performance Dates: Dec. 7, 2024-Jan. 2025

Ambrogio Maestri leads Verdi’s “Falstaff” with Luca Micheletti, Juan Francisco Gatell, Rosa Feola, Rosalia Cid, and Marianna Pizzolato. Daniele Gatti conducts the revival.

Performance Dates: Jan. 16-Feb. 7, 2025

Sir David McVicar’s production of Wagner’s “Die Walküre” will star Klaus Florian Vogt, Günther Groissböck, Michael Volle, Elza van den Heever, Okka von der Damerau, and Camilla Nylund. Christian Thielemann conducts.

Performance Dates: Feb. 5-23, 2025

Aida Garifullina and Alexey Markov lead Tchaikovsky’s “Eugene Onegin” with Alisa Kolosova, Elmina Hasan, Julia Gertseva, Dmitry Korchak, and Dmitry Ulyanov. Timur Zangiev conducts the new production by Mario Martone.

Performance Dates: Feb. 19-March 11, 2025

Chiara Isotton and Elena Stikhina headline Puccini’s “Tosca” alongside Francesco Meli, Fabio Sartori, Luca Salsi, and Amartuvshin Enkhbat. Michele Gamba conducts.

Performance Dates: March 15-April 4, 2025

Florian Leopold Gassmann’s “L’Opera Seria” will be directed by Laurent Pelly and will be conducted by Christophe Rousset. The cast will include Pietro Spagnoli, Mattia Olivieri, Giovanni Sala, Josh Lovell, Julie Fuchs, Andrea Carroll, Serena Gamberoni, Alessio Arduini, Alberto Allegrezza, Lawrence Zazzo, and Filippo Mineccia.

Performance Dates: March 29-April 9, 2025

Lucas Meachem, Kate Lindsey, Katrina Galka, Gianluca Buratto, Daniela Barcellona, Marco Filippo Romano, Roberto Frontali, Giorgio Berrugi, Owen Willetts, Giovanni Sala, Carlo Vistoli, Leonardo Cortellazzi, and Adrien Mathonat star in the world premiere of “Il Nome della Rosa” by Francesco Filidei. Damiano Michieletto directs and Ingo Metzmacher conducts.

Performance Dates: March 27-May 10, 2025

Riccardo Chailly conducts Kurt Weill’s “Die Sieben Todsünden / Mahagonny-Songspiel / Happy End” with Alma Sadé, Lauren Michelle, Elliott Carlton Hines, Andrew Harris, Matthäus Schmidlechner, Michael Smallwood, and Geoffrey Carey. Irina Brooks directs.

Marina Rebeka headlines Bellini’s “Norma” alongside Freddie De Tommaso, Michele Pertusi, and Vasilisa Berzhanskaya. Fabio Luisi conducts the new production by Olivier Py.

Performance Dates: June 27-July 17, 2025

Rossini’s “La Cenerentola” will be conducted by Gianluca Capuano and will star artists of the Teatro alla Scala Academy.

Performance Dates: Sept. 6-19, 2025

Verdi’s “Rigoletto” will return with Vittorio Grigolo, Dmitry Korchak, Amartuvshin Enkhbat, Regula Mühlemann, Francesca Pia Vitale, Gianluca Buratto, and Martina Belli. Marco Armiliato conducts.

Performance Dates: Oct. 7-28, 2025

Riccardo Chailly joins forces with Elīna Garanča and Christopher Maltman for music by Mahler, Schönberg, and Berg.

Ludovic Tézier and Julius Drake perform in recital.

Performance Date: Nov 24, 2024

Joyce DiDonato and Craig Terry join forces for an evening of song.

Performance Date: May 19, 2025

Matthias Goerne performs Schubert’s “Winterreise” with Maria João Pires.

Performance Date: Oct. 5, 2025

Asmik Grigorian and Hyung-Ki Joo perform together.

Performance Date: Oct. 19, 2025

Erwin Schrott concludes the recital series with Alessandro Amoretti

Performance Date: Nov 9, 2025

Extraordinary concerts 

Daniele Gatti conducts the Christmas concert with Mariangela Sicilia, Vasilia Berzhanskaya, Yijie Shi, and Michele Pertusi.

Performance Date: Dec 21, 2024

Mozart’s “Mitridate” will be performed in concert with Sergey Romanovsky, Jessica Pratt, Olga Bezsmertna, Rose Naggar-Tremblay, Maria Kokareva, Alasdair Kent, and Nina van Esse. Christophe Rousset conducts.

Performance Date: May 18, 2025

Leonardo Garcia Alarcon conducts Rameau’s “Les Indes galantes.”

Performance Date: Nov. 16, 2025

Invited Orchestras 

Raphaël Pichon conducts Bach’s Johannes-Passion with the Pygmalion.

Performance Date: April 17, 2025

The post Anna Netrebko, Jonas Kaufmann, Ludovic Tézier, Rosa Feola, Juan Diego Flórez, Camilla Nylund & Marina Rebeka Lead Teatro alla Scala’s 2024-25 Season appeared first on OperaWire.

Michael Tilson Thomas conducts Mahler’s Symphony No. 2.

Performance Dates: Oct. 20 & 23, 2024

André J Thomas conducts the Soul Sanctuary Gospel Choir and LSO Community Voices in music by Brandon Boyd, Nolan Williams, Margaret Bonds, Brandon Waddles, André J Thomas, Moses Hogan, Rosephanye Powell, Joe Pace, Carol Cymbala, Kurt Carr, Raymond Wise, and Frances Fonza Smith.

Performance Date: Nov. 3, 2024

Sir Antonio Pappano conducts Puccini’s “La Rondine” with Nadine Sierra, Serena Gamberoni, Michael Fabiano, Paul Appleby, and Ashley Riches.

Performance Dates: Dec. 10 & 12, 2024

Sir Simon Rattle and Barbara Hannigan team up for music by George Benjamin, Brahms, and Pierre Boulez.

Performance Date: Jan. 9, 2025

Sir Antonio Pappano conducts cellist Rebecca Gilliver, soprano Masabane Cecilia Rangwanasha, and baritone Will Liverman in a program of music by Elizabeth Maconchy, William Walton, and Ralph Vaughan William.

Performance Dates: Feb. 12, 2025

Barbara Hannigan conducts Stéphane Degout in Haydn, Britten, Ravel, and Roussel.

Performance Date: March 13, 2025

Barbara Hannigan and Gareth Davies perform music by Debussy, Sibelius, Vivier, Khayam, Haydn, and Bartók.

Performance Date: March 20, 2025

Sir Antonio Pappano conducts Beethoven’s Symphony No. 9 with Masabane Cecilia Rangwanasha and J’Nai Bridges. The music of Michael Tippet will also be included.

Performance Date: March 23, 2025

Sir Simon Rattle conducts Janáček’s “The Excursions of Mr Brouček” with a cast that includes Peter Hoare, Aleš Briscein, Lucy Crowe, Gyula Orendt, Lukáš Zeman, Clara Nadeshdin, Linard Vrielink, and Arttu Kataja.

Performance Dates: May 4 & 6, 2025

Gustavo Dudamel and Marina Rebeka perform a program of music by Strauss and Ravel.

Performance Date: May 14, 2025

Sir Antonio Pappano conducts Strauss’ “Salome” with Asmik Grigorian and Michael Volle.

Performance Date: July 11 & 13, 2025

The post Nadine Sierra, Masabane Cecilia Rangwanasha, Asmik Grigorian & Marina Rebeka Lead London Symphony Orchestra’s 2024-25 Season appeared first on OperaWire.

The opera, which opens on April 12 and runs through April 21, will celebrate Puccini’s anniversary.

Francesco Ivan Ciampa conducts the production by Augusto Fornari.

The cast will include Anastasia Bartoli, Serena Gamberoni, Galeano Salas, Alessandro Scotto di Luzio, Alessio Arduini, Leon Kim, Benedetta Torre, Maria Novella Malfatti, Gabriele Sagona, Luca Dall’Amico, Pablo Ruiz, and Fernando Cisneros.

In a statement regarding his new production, Fornari said, “It was for fun that I approached opera and it was through a strange game of connections that I found myself directing ‘La bohème.’ And it was with amazement that I seemed to find the “Game” as the driving force behind the story in the dramatic mechanisms of Puccini’s masterpiece. The “Game” the serious one, with a capital G, the one for children, the one that goes to the end, the one that mocks hunger, the cold, poverty, wealth, the bourgeoisie, social patterns, the one that would like to trip even death. Rodolfo and company do nothing but “make fun” of everything with a lightness and distance, as if they were aware of being characters from a novel or from an opera.”

The post Teatro Carlo Felice to Present New ‘La Bohème’ Production appeared first on OperaWire.

Benjamin Britten’s “A Midsummer Night’s Dream” opens the season with a cast that includes Christopher Ainslie, Sydney Mancasola, Matteo Anselmi, Scott Wilde, Kamelia Kader, Peter Kirk, John Chest, Hagar Sharvit, Keri Fuge, David Shipley, David Ireland, Seumas Begg, Sion Goronwy, Robert Burt, and Benjamin Bevan. Donato Renzetti conducts the production by Laurence Dale.

Performance Dates: Oct. 13-19, 2023

Dante Ferretti directs Massenet’s “Werther” with Jean-François Borras, Jérôme Boutillier, Caterina Piva, and Hélène Carpentier. Donato Renzetti conducts.

Performance Dates: Nov. 17-26, 2023

Maurizio Fabrizio’s “Edith” will premiere with a cast that includes Salome Jicia, Francesco Pio Galasso, Claudio Sgura, Blagoj Nacoski, Giovanni Battista Parodi, Alena Sautier, Valentina Coletti, Manuel Pierattelli, and Marco Camastra. Donato Renzetti conducts.

Performance Dates: Dec. 17-21, 2023

Lianna Haroutounian and Jennifer Rowley lead Puccini’s “Madama Butterfly.” They perform alongside Manuela Custer, Caterina Piva, Fabio Sartori, Matteo Lippi, Vladimir Stoyanov, and Alessandro Luongo. Fabio Luisi conducts Alvis Hermanis’ production.

Performance Dates: Jan. 19-28, 2024

Mozart’s “Idomeneo” will star Antonio Poli, Cecilia Molinari, Benedetta Torre, Lenneke Ruiten, Giorgio Misseri, and Blagoj Nacoski.

Performance Dates: Feb. 16-25, 2024

Mattia Olivieri, Angela Meade, Sonia Ganassi, and Francesco Demuro lead Bellini’s “Beatrice di Tenda” alongside Riccardo Minasi conducting and Italo Nunziata directing.

Performance Dates: March 15-22, 2024

Anastasia Bartoli and Serena Gamberoni lead Puccini’s “La Boheme” with Galeano Salas, Alessandro Scotto di Luzio, Alessio Arduini, Leon Kim, Benedetta Torre, Caterina Sala, Gabriele Sagona, Alessandro Spina, Pablo Ruiz, and Fernando Cisneros. Riccardo Minasi conducts the production by Augusto Fornari.

Performance Dates: April 12-21, 2024

Francesco Meli leads Verdi’s “Il Corsaro” with Irina Lungu, Mario Cassi, and Marigona Qerkezi. Renato Palumbo conducts the production by Lamberto Puggelli.

Performance Dates: May 17-26, 2024

The season closes with Rossini’s “Il Barbiere di Siviglia” with soloists of the Accademia dell’Opera Carlo Felice Genova diretta da Francesco Meli. Giancarlo Andretta conducts the production by Damiano Michieletto.

Performance Dates: June 14-20, 2024

Concerts 

Claudio Marino Moretti conducts the chorus and orchestra in a program of music by Haydn.

Performance Date: Oct. 14, 2023

Claudio Marino Moretti conducts another concert with the chorus and orchestra in a program of music by Haydn.

Performance Date: Oct. 18, 2023

Claudio Marino Moretti leads the chorus in a program of music by Part, Vasks, and Schnittke.

Performance Date: Dec. 20, 2023

Donato Renzatti leads music by Fabrizio.

Performance Date: Dec. 23, 2023

Claudio Marino Moretti leads a concert of music by Dvorak and Puccini.

Performance Date: March 29, 2024

Roberto Abbado conducts a program with chorus and orchestra.

Performance Date: April 25, 2024

Riccardo Minasi concludes the season with music by Poulenc, Debussy and Ravel.

Performance Date: June 25, 2024

The post Francesco Meli, Irina Lungu, Salome Jicia & Angela Meade Lead Teatro Carlo Felice’s 2023-24 Season appeared first on OperaWire.

The season will open with a new production of Puccini’s “Suor Angelica” presented with Ravel’s “L’Enfant et les Sortileges.” This double bill will be led by conductor Numajiri Ryusuke and director Aguni Jun, with a cast featuring Chiara Isotton, Marianna Pizzolato, Chloe Briot, and Saito Junko.

Performance Dates: Oct. 1-9, 2023

Verdi’s “Simon Boccanegra” will be presented in a co-production with the Finnish National Opera and Ballet and the Teatro Real Madrid. Conductor Ono Kazushi and renowned director Pierre Audi in collaboration with contemporary artist Anish Kapoor lead a cast made up of Roberto Frontali, Riccardo Zanellato, Simone Alberghini, Irina Lungu, and Luciano Ganci.

Performance Dates: Nov. 15-26, 2023

Strauss’ “Die Fledermaus” will star Johnathan McGovern, Eleonore Marguerre, Tatsundo Ito, Tamara Gura, and Kerstin Avemo under conductor Patrick Hahn. Heinz Zednik directs.

Performance Dates: Dec. 6-12, 2023

Tchaikovsky’s “Eugene Onegin” will feature Ekaterina Siurina, Yuriy Yurchuk, Viktor Antipenko, Anna Goryachova, and Alexander Tsymbalyuk. Valentin Uryupin conducts Dmitry Bertman’s production.

Performance Dates: Jan. 24-Feb. 3, 2024 

Michele Pertusi, Lavinia Bini, Juan Francisco Gatell, and Kamie Hayato lead Donizetti’s “Don Pasquale.” Renato Balsadonna conducts Stefano Vizioli’s production.

Performance Dates: Feb. 4-10, 2024

Wagner’s “Tristan and Isolde” will be conducted by Ono Kazushi and directed by David McVicar. The cast will include notable singers such as Eva-Maria Westbroek, Torsten Kerl, Eglis Silins, Wilhelm Schwinghammer, and Mihoko Fujimura.

Performance Dates: March 14-24, 2024

Verdi’ “La Traviata” will star Eri Nakamura, Gustavo Castillo, and Riccardo Della Sciuccia.Francesco Lanzillota conducts the production by Vicnent Boussard.

Performance Dates: May 16-29, 2024

Mozart’s “Cosìfan tutte” will star Serena Gamberoni, Kanae Kushima, Daniela Pini, Joel Prieto, and Mattia Olivieri. Norichika Iimori conducts the production by Damiano Michieletto

Performance Dates: May 30-June 4, 2024

Puccini’s “Tosca” will feature Joyce El-Khoury, Teodor Ilincai, and Nikoloz Lagvilava. Maurizio Benini conducts the production Antonello Madau-Díaz.

Performance Dates: July 6-21, 2024

The post Joyce El-Khoury, Ekaterina Siurina & Michele Pertusi Lead New National Theatre Tokyo’s 2023-24 Season appeared first on OperaWire.

So without further ado, we’ll let them do the reflecting. Enjoy!

João Copertino – Laurent Naouri & Maciej Pikulski in Recital (Athenée Theater)

This was a formidable year in terms of Opera: Lise Davidsen’s voice in “Ariadne” still rings in my head; Sabine Devieilhe and Raphaël Pichon were sublime in their “Lakmé;” Ian Bostridge and Veronique Gens showed all their power in Gluck’s “Armide” … There were many wonderful moments.

However, in my opinion, the most remarkable concert was a recital of chansons given by Laurent Naouri and Maciej Pikulski at Paris’s Athenée theater in November. It is hard to imagine a duo one would greet with more anticipation, and they truly exceeded already high expectations. A cozy Monday night recital metamorphosed into a night to remember. Naouri acted all the songs theatrically, displaying intimate connections among language, music, and storytelling. His movements, though grandiloquent, were never over-the-top. Everything was meticulously choreographed: each breath, each high note, each consonant. Pikulski, scenically shy, was the perfect pianist. Few times have Ravel’s intricate rhythms sounded more uncomplicated. I cannot say it was a flawless night, but the amazing thing was that even the mistakes were deeply incorporated into the performance in a way that made everything even more special. Only great artists have this superpower.

Mike Hardy – Numerous

2022 was a ‘catch-up’ year for me, finally getting to see and review some performances that were canceled due to the “unprecedented” pandemic.

June saw the Grange Park Opera stage “La Gioconda” with an ailing, but still magnificent Joseph Calleja, and November saw the Royal Opera House stage “La Bohème” with a magnificent but underpowered Juan Diego Florez.

That “Bohème,” however, will most definitely remain one of my highlights, not least for the bravura shown by Danielle de Niese’s Musetta, who staggered majestically across the tables of Café Momus in high-heeled shoes, singing a glorious “Quando m’en vo,” whilst simultaneously managing to remove her underwear in the process!

More Puccini in June with Armenian soprano Lianna Haroutounian singing a stunning “Madama Butterfly” alongside great British tenor hope Freddie de Tommaso.

July saw the UK debut of Mark Adamo’s “Little Women” at Opera Holland Park. The beautiful and gifted Mezzo Charlotte Badham also made her professional debut here in the role of Jo. Although thoroughly modern, with undertones of Sondheim and a touch of Bernstein in parts, it’s a taste I haven’t yet fully acquired, but Louisa May Alcott would probably have been sufficiently enchanted by it.

Polina Lyapustina — Boris Godunov (Teatro alla Scala)

Despite all the ambiguity of the choice of the opera for Prima della Scala and the obvious politicization of the event, the early version of Boris Godunov presented by Riccardo Chailly in a new — darker staging by Kasper Holten is a true masterpiece.

When I was writing an editorial reflecting on this event, I could barely keep myself from showering in compliments on the striking dramaturgy and witty directing, showing a deep understanding of both the historical context and current situation. Perfectly complemented by thoughtful scenery, lighting, and costumes, it was an ideal realization to keep the audience involved and fascinated by this grave story for hours.

But certainly, it wasn’t just that. It was Riccardo Chailly who led the orchestra with passion but kept the tempo slow and smooth, letting us taste every shade of the grief. It was the choristers, showing such perfect diction, that one surely understand and feel through every word.

And it was the cast. Ildar Abrazakov performed the role with outstanding musicianship switching the focus to Godunov’s inner world and showing the wide range of emotions in this rich bass in every part of the range. Ain Anger on the opposite showed incredible range constancy, and yet, with his dark and grave bass, he took us through all the twists of the history of Russia in the XVI century.

Suffering became a keyword of this interpretation. The darkest opera for the darkest times. And yet, the extraordinary work of the artists created a performance as grave as beautiful and enlightening,  the one I would gladly suffer to see again.

Alan Nielsen – From the House of the Dead & The Glagolitic Mass (Brno’s Janacek Festival)

I have been fortunate in having reviewed so many excellent productions over the course of the year that choosing my favorite was indeed a difficult task. Even whittling them down to a handful was no easy task.

There were three excellent productions of Rossini operas. There was a brilliantly sung “Le Comte Ory” starring Julie Fuchs and Juan Diego Flórez, and a cleverly conceived “Otello” directed by Rosetta Cucchi, both from Pesaro’s Rossini Festival, and an imaginatively updated version of his “Moise et Pharaon” from the Aix-en-Provence festival, which concluded with a video of the Egyptians drowning in the sea, followed by a scene in which tourists sat sunning themselves on the beach, oblivious to the tragedy that had occurred there.

Also from the Aix-en-Provence Festival was an electrifying production of Monteverdi’s “L’Incoronazione di Poppea” conducted by Leonardo Garcia Alarcón, starring Jake Arditti and Jacquelyn Stucker, who between them created a performance of high intensity in which it was possible to feel sexual tension pulsating through the performance.

However, my choice for the best production of 2022 would have to be Brno’s Janacek Festival’s double bill of “From The House Of The Dead” and “The Glagolitic Mass.” The director, Jiri Herman, took the imaginative and courageous decision not only to combine the two pieces so that one emerged from out of the other, but to incorporate overt Christian symbolism into “From The House Of The Dead.” Christ was ever-present, suffering with the prisoners, and in the final scene, he dies for them, to be resurrected in the Mass with the prisoners in attendance. It might sound unappealing to many people, but, I think, they would be very surprised. It was dramatically powerful, with each work enhancing the other. It was also a reading that grew naturally from Dostoyevsky’s book, the source material for the opera, with its message that Man is able to endure such traumatic situations due to his irrational faith. Musically, the new musical director of Covent Garden, Jakub Hrusa, oversaw a superb performance in which he brought out the intensity and dramatic potential of both works.

New York, New York
January 25, 2022
New York City Opera, Garden of The Finzi-Continis.
PHOTOGRAPH by ALAN CHIN

Chris Ruel – The Garden of the Finzi-Continis (New York City Opera)

I have chosen Ricky Ian Gordon and Michael Korie’s “The Garden of the Finzi-Continis” as my favorite opera of 2022. The opera teaches a stark lesson about an evil currently raising its ugly head in the United States: anti-Semitism.

“The Garden of the Finzi-Continis” is a warning, particularly given the rise and normalization of fascist and neo-Nazi ideologies in American politics. Though we don’t like thinking so, the sociopolitical realities of today can quickly change into the horrors of tomorrow.

The Italian-Jewish Finzi-Continis didn’t recognize this, and believed their wealth and privilege immunized them against the horrors of the Holocaust. It didn’t. And, 80 years later, it’s tempting to believe the political principles upon which US and European democracies were founded will keep us safe from murderous autocrats. They won’t.

Opera has a lot to say, and Gordon and Korie’s work spoke loud and clear: think again if you believe money, power, and influence is a surety against murderous hatred.

Evan Zimmerman / Met Opera

David Salazar – Lady Macbeth of Mtsensk (Metropolitan Opera)

Before we get to my pick, I must say that this was a year in which I saw a number of incredible individual star turns. Mostly at the Met, I witnessed the arresting Eleonora Buratto in “Madama Butterfly,” Ermonela Jaho stealing every moment she sang in “Turandot,” the endless breath control and expansive legato by Federica Lombardi in a couple Mozart operas, Allan Clayton and Nicole Car’s intricate portrayals in “Peter Grimes,” the glorious music of Kevin Puts and Joyce DiDonato’s immersive Virginia Woolf in “The Hours,” and Sondra Radvanovsky’s imperiousness in “Medea.” Then there was a trio of singers in “Rigoletto” across two different performances – Quinn Kelsey (Nov. 14), Benjamin Bernheim (Nov. 14 and Dec. 8), and Lisette Oropesa (Dec. 8) – that delivered some of the most thrilling and complex vocal palette of Verdi singing I have heard in ages.

But as it says above, this is about that harsh, gritty, sarcastic, violent, icy opera by Shostakovich. The Met Opera’s production by Graham Vick is truly one of THE theatrical experiences at the Met, managing to find a way to explore the theatrical potential of the opera without getting in the way of the opera (a rare feat for most directors, including Vick himself). Moreover, the work feels as fresh and relevant as ever and the production’s pointed criticism rings even truer as a result. Throw in what was a triumphant cast with Svetlana Sozdateleva, in her Met debut, magnetic the entire time, both in her vocal presence and her characterization of the tragic Katerina. She was joined by Brandon Jovanovich in a truly chilling and lecherous turn as her lover/betrayer Sergei, not to mention John Relyea who has been a revelation in his recent performances at the Met. Then there’s Keri-Lynn Wilson who conjured up one incredible musical moment after another in a season. The Met Opera’s season got off to a tremendous start in its first week with fantastic productions of “Medea” and “Idomeneo,” but “Lady Macbeth of Mtsensk” was the triumphant capper of that trilogy.

Ph. Teatro alla Scala / Brescia – Amisano

Francisco Salazar – Fedora (Teatro alla Scala)

It was an interesting year in the opera world and one that had controversy to spare but for all the headlines there were many great performances to remember. I had the chance to see opera around the world starting in Muscat where I saw an unforgettable Vladislav Sulimsky in the title role of “Rigoletto.” Then there was the dazzling Jessica Pratt in “Il Barbiere di Siviglia” at the Teatro San Carlo di Napoli and how could I forget the impeccable work of Gregory Kunde in “La Forza del Destino” at the Verdi Festival. At the Met, I was surprised by the beauty of Kevin Puts’ score to “The Hours” and by Aleksandra Kurzak’s gritty turn as “Tosca.”

But the performance that I saw as the best of the best was “Fedora” at the Teatro alla Scala. Mario Martone brought an unconventional production that sometimes lacked new ideas, but it was Sonya Yoncheva and Roberto Alagna’s committed turns that brought fireworks to the stage. Yoncheva, who was making her role debut, demonstrated a lush tone in her middle voice, while Alagna was pure passion and fire in his big return to the Milan stage. It didn’t hurt that Marco Armiliato was at his best alongside George Petean’s impeccable voice and Serena Gamberoni’s star-making turn.

Countertenor Jakub Józef Orlinski as Orpheus in Gluck’s “Orpheus and Eurydice” at San Francisco Opera

Lois Silverstein – Orpheus and Eurydice (San Francisco Opera)

Gluck’s “Orpheus and Eurydice” is a quintessential love story: young lovers separated by death, who want to be reunited and what they do to make that happen. In the San Francisco production, directed by Matthew Ozawa, young Orpheus, in flaming red trousers and shirt, somersaults onto the stage to mourn his lost beloved. Performed by the exceptionally talented Polish countertenor Jakub Jósef Orlínski,  we were immediately captivated by his graceful movement and his sonorous sound. As he went to the Underworld to plead for the return of his beloved Eurydice, sung so poignantly by Chinese soprano, Meigui Zheng, we hung on every tone and gesture between them.

Orlínski sang and moved as if he were in and of water. His pleading was one in body and sound, his facial expression, his even yet expressive descant tones. Was he real? And if so from what planet? We remained immersed from beginning to end.

The San Francisco Opera Orchestra, conducted by Peter Whelan, with the utmost grace and felicity, bathed us, through three acts, with moving sound and artistry, in an array of beautiful feelings, and stirred some of our profound thoughts. Even weeks after, we experience the harmony such a well-coordinated production may bring. Truly it was a gem.

John Vandevert – Flight (Royal Music Conservatory London)

This year, I got to expand my operatic experiences greatly, leaping into contemporary opera but also refreshing my palette with contemporary takes on 19th century opera. However, my favorite opera of 2022 would have to be the fantastic production of “Flight” by Jonathan Dove, performed by the Royal Music Conservatory London and directed by Jeremy Sams. Blending digital screens and special effects with high level singing and dramaturgy, the students who performed the contemporary work were far above their years and it was a pleasure to review while in London. Right across the street from Royal Albert Hall, the opera was staged in The Britten Theatre, a mini La Scala if you will, a very handsome place for an opera. The best part was seeing how dimensions and levels were played with on the stage, as well as making the production “meta” by having the refugee (sung by countertenor Hugh Cutting) sit on the stage before the curtain rose, were all fascinating plays on operatic staging tropes and conventional procedures.

The post Best of 2022: OperaWire’s Staff on the Best Performances of the Year appeared first on OperaWire.