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.

Montréal’s Orchestre Philharmonique et Choeur des Mélomanes has announced its 2024-25 season celebrating its 10th anniversary.

The season opens with Beethoven’s 5th Symphony and Mozart’s Requiem in D minor. Conductor Francis Choinière leads soloists soprano Myriam Leblanc, mezzo-soprano Allyson McHardy, tenor Andrew Haji, and baritone Geoffroy Salvas.

Performance Dates: Nov. 15 & 16, 2024

The second concert of the season will feature Holst’s “Les Planètes” and Gloria by British composer Karl Jenkins.

Performance Date: March 9, 2025

The season concludes with Mahler’s Symphony No. 2 with soloists soprano Sarah Dufresne and mezzo-soprano Allyson McHardy. Francis Choinière conducts the Orchestre Philharmonique et Choeur des Mélomanes. This masterwork work was recently heard in the acclaimed film “Maestro” about the life of conductor Leonard Bernstein.

Performance Date: May 24, 2025

The post Orchestre Philharmonique et Choeur des Mélomanes Announce 2024-25 Season appeared first on OperaWire.

This week audiences get to hear a new album by one of opera’s leading tenors and watch a video of one of Donizetti’s comic gems featuring a leading soprano and a superstar bass-baritone.

Voices from the Other Side

The new work from composer Margi Griebling-Haigh is a collection of impressionistic chamber works and the new album features an octet of cellists joined by soprano Gabrielle Haigh.

Noble Renegades

Charles Castronovo dedicates his recent album to Verdi conducted by Constantine Orbelian and the Kaunas City Symphony Orchestra.

The post Charles Castronovo, Nadine Sierra & Bryn Terfel Highlight New CD/DVD Releases appeared first on OperaWire.

Federico Santi conducts Verdi’s “La Traviata“ in a production by Chloé Lechat. Julia Muzychenko leads a cast that includes Jonas Hacker and Serban Vasile.

Performance Dates: Oct. 11-15, 2024

Charles Lecocq’s “La Fille de Madame Angot” will be conducted by Chloé Dufresne and directed by Richard Brunel. Valentine Lemercier, Hélène Guilmette, Enguerrand de Hys, Philippe Nicolas Martin, Matthieu Lécroart, Floriane Dherte, Antoine Foulon, Jean-François Baron, and Geoffrey Carey headline the production.

Performance Dates: Dec. 27-31, 2024

Diana Axentii, Olivier Gourdy, Jérémie Schütz, and Aurélie Jarjaye lead “Turandot, énigme au musée.” Andrea Bernard directs and Nicola Simoni conducts.

Performance Dates: Jan. 18 & 19, 2025

“Les Folies amoureuses” will star Eduarda Melo, Fiona McGown, Fabien Hyon, Aimery Lefèvre, and Yuri Kissin. Chloé Lechat directs the work which features music by Rossini, Cimarosa, and Mozart.

Performance Date: Feb. 1, 2025

Clara Barbier Serrano, Apolline Rai-Westphal, Elsa Roux-Chamoux, Marion Pascal Vergez, Etienne de Benazé, and Sébastien Monti lead “La Petite Sirène.” Jane Latron conducts the production by Bérénice Collet.

Performance Date: Feb. 7, 2025

Gabrielle Philiponet, Diego Godoy, Charlotte Bonnet, Geoffroy Salvas, Mikhael Piccone, Dmitrii Grigorev, and Yuri Kissin lead Puccini’s “La Bohème.” Marko Hribernik conducts the production by Frédéric Roels.

Performance Dates: Feb. 28-March 4, 2025

Matteo Franceschini’s “Alice” is set to be conducted by David Greilsammer and will showcase Elise Chauvin, Kate Combault, Sarah Laulan, Rémy Poulakis, and Jean-Baptiste Dumora. Caroline Leboutte directs.

Performance Dates: March 29 & 30, 2025

Mozart’s “Zaide” will star Aurélie Jarjaye, Kaëlig Boché, Matthieu Gourlet, Mark van Arsdale, and Marief Guittier. Nicolas Simon conducts the production by Louise Vignaud.

Performance Dates: April 25 & 27, 2025

Poulenc’s “Les Mamelles de Tirésias” will feature the vocal talents of Sheva Tehoval, Marc Scoffoni, Jean-Christophe Lanièce, Philippe Estèphe, Blaise Rantoanina, Matthieu Justine, and Ingrid Perruche. Samuel Jean conducts the production by Théophile Alexandre.

Performance Dates: June 6 & 8, 2025

Concert

Lorrie Garcia and Marion Liotard lead a program of music by Joséphine Baker, Georges Bizet, Pauline Viardot, Mel Bonis, Maurice Ravel, Jacques Offenbach, Cécile Chaminade, Camille Saint-Saëns, Astor Piazzolla, Clara Schumann, Judy Garland, Ella Fitzgerald, Anne Sylvestre, Fanny Mendelssohn, and Edith Piaf.

Performance Date: Oct. 5, 2024

Ramon Vargas headlines in an evening of music by Giuseppe Verdi, Giacomo Puccini, and Gaetano Donizetti. Giulio Prandi conducts.

Performance Date: Oct. 19, 2024

Scarlatti’s “La Giuditta di Cambridge” will star Sonia Tedla Chebreab, Filippo Mineccia, and Raffaele Giordani. Giulio Prandi conducts.

Performance Date: Oct. 19, 2024

Débora Waldman and Kévin Amiel lead a program of works by Gustav Mahler and Wolfgang Amadeus Mozart.

Performance Date: Oct. 25, 2024

Cyrille Dubois and Michaël Ertzscheid perform “Broadway Rhapsody” in a program featuring music by Gershwin and Weill.

Performance Date: Nov. 9, 2024

Julie Goussot and Rodolphe Lospied lead a program of music by Mel Bonis, Giacomo Puccini, Charles Gounod, Franz Liszt, Jules Massenet, Paolo Tosti, Pietro Mascagni, Ottorino Respighi, Pauline Viardot, Frédéric Chopin, and Alfredo Catalani.

Performance Date: Nov. 16, 2024

Pierre Guiral conducts a Puccini program with soloists Patrick Garayt, Jean-François Baron, Adrien Djouadou, and Luc Antonini.

Performance Date: Nov. 16, 2024

The Harlem Gospel Choir sings a concert dedicated to Aretha Franklin.

Performance Date: Nov. 23, 2024

Enguerrand de Hys and Paul Beynet lead a program of music by Mel Bonis, Jules Massenet, Guy Ropartz, Augusta Holmès, Edmond Dubois, Théodore Dubois, Gabriel Fauré, Charles Lecocq, Charles Lenepveu, Henri Maréchal, Edouard Paladilhe, Camille Saint-Saëns, Pauline Viardot, Charles-Marie, Maria Malibran, Reynaldo Hahn, and Francis Poulenc.

Performance Date: Dec. 14, 2024

Karen Vourc’h and Anne le Bozec lead a recital of music by Caroline Recker-Medsen, Edvard Grieg, Agathe Backer-GrØndhal, Jean Sibelius, and Kaija Saariaho.

Performance Date: Jan. 11, 2025

Bruno de Sá and Paul Figuier join forces for music by Vivaldi and Pergolesi. Thibault Noally conducts the Ensemble Les Accents.

Performance Date: Jan. 26, 2025

Emy Gazeilles, Héloïse Poulet, Juliette Mey, and Rodolphe Lospied perform in recital.

Performance Date: March 16, 2025

Elodie Kimmel and Loïc Félix lead a program of works by Offenbach, Messager, Bernstein, Frederick Loewe, Johann Strauss II, Richard Heuberger, Henri Christiné, and Lehár.

Performance Date: March 22, 2025

The Dulci Jubilo and L’Autre Big Band will perform a program of music by Bernstein, Morgan Lewis, Samuel Barber, Kenny Wheeler, and Henri Mancini.

Performance Date: April 2, 2025

The Chœur de l’Opéra Grand Avignon perform alongside pianist Maya Berdieva.

Performance Date: April 19, 2025

Débora Waldman conducts Mozart’s Requiem with Eva Zaïcik, François Rougier, and Thomas Dolié.

Performance Date: June 13, 2025

Baroque 

Léopold Gilloots Laforge and Paul Montag present a recital.

Performance Date: Nov. 24, 2024

Lauranne Oliva and Levi Gerke perform in recital.

Performance Date: April. 26, 2025

The post Opéra Grand Avignon Announces 2024-25 Season appeared first on OperaWire.

The Monarch, who has been Patron of the Royal Opera House since 2009 and President of the Royal Ballet since 2003, was welcomed on stage at the cessation of the evenings proceedings by the conductor, where he was loudly cheered by all. His Majesty appeared most pleased, as well he might.

This was a night of celebration, a show of adulation and affection for the man who has been described as “the best thing that has happened to the Royal Opera in its lifetime.” Sir Antonio Pappano has served an exemplary 22 years as music director, conducting over 700 performances at Covent Garden, and guiding and mentoring some of today’s biggest names and rising stars, both.

Surprisingly, there was no Wagner on the menu, and the only Mozart was the “Marriage of Figaro” with which the Maestro elected to open the evening’s performance.

Amongst a star studded cast, there were no solo arias, Russian Mezzo Aigul Akhmetshina and British baritone Huw Montague Rendall getting the vocal proceedings underway with “Dunque io son”  from Rossini’s “Barber of Seville.” Rendall, described by “Le Figaro” as “The Pelléas of his generation,” was both utterly charming, charismatic, and sonorously rich in voice. Akhmetshina, although suffering from a virus, displayed amazing versatility and a most athletic coloratura in this offering.

This was preceded by established artists, Lisette Oropesa and Carlos Álvarez, both in fine fettle, who performed a comedic turn in Donizetti’s “Pronta io son” from “Don Pasquale.”

Not to be outdone in the comedy stakes, Jonas Kaufmann and Diana Damrau got to properly ham it up with the pocket watch duet, “Dieser Anstand, so manierlich” from Johann Strauss’s “Die Fledermaus” although Kaufmann appeared to be showing caution with his voice after his recent bout of the laryngitis that forced him to cancel a concert performance in Munich, little more than a week prior to this engagement.

The chorus of the Royal Opera House themselves were next up, performing a rousing and glorious rendition of Verdi’s “Va, Pensioro” from “Nabucco.” If there is a finer chorus in the world then I’d pay dearly to hear it.

MORE Verdi next, with the famous “Bella figlia dell’amore” quartet from “Rigoletto.” This time, Aigul Akhmethshina being joined by American soprano Nadine Sierra, Spanish tenor Xabier Anduaga and Mongolian baritone, Amartuvshin Enkhbat. This was a magical quartet with Anduaga in particular being a bright, polished, incisive force.

One of the evening’s highlights, for me at least, followed; a breathtakingly beautiful “C’est toi, mon pere” from Massenet’s “Thais,” performed by Albanian soprano Ermonela Jaho and Canadian Bass Baritone Gerald Finley. Jaho, in a white, flowing, ethereal ensemble looked like an angel, and she sure sang like one. Beautifully nuanced, coloured passages and a soaring controlled upper register made for a most emotive and beguiling piece.

MORE Verdi, with American-Canadian Soprano Sondra Radvanovsky and British-Italian tenor Freddie de Tomasso with “Teco io sto” from “Un Ballo in maschera.” Radvanovsky seems to get better with age, to my ear, accomplishing amazing feats of vocal gymnastics; a soaring, piercing resonance at one turn, exquisite pianissimos the next. De Tommaso contrastingly displays a stunning innate Italianate quality combined with a dark, rich, baritonal flavour. These are remarkable gifts that bely his youth.

Leading to the Interval, Welsh powerhouse Sir Bryn Terfel, accompanied here by the very promising Jette Parker artist Michael Gibson, performs “Te Deum” from Puccini’s “Tosca,” alongside the Royal Opera House chorus. Terfel positively oozes malevolence in this role, a finer Scarpia you will struggle to find.

After the break, MORE Verdi with “I Lombardi alla prima crociata”: firstly, the prelude performed by the remarkable Bulgarian violinist and conductor, Vasko Vasilev, a long standing work colleague and close associate of Pappano. His playing was majestic and he was later singled out by the Maestro to receive audience applause. After the prelude, Freddie de Tommaso with Ermonela Jaho and South Korean bass Insung Sim performed the “Qui posa il fianco” trio. Here, de Tommaso was more dominant, singing a more commanding line and showing off his dramatical skills, ably assisted by Jaho and a deep, velvet dark Sim.

“Rigoletto” next, “Signor ne principe” with Nadine Sierra, Xabier Anduaga, Jeremy White, Michael Gibson and another Jette Parker artist, mezzo-soprano Veena Akama-Makia. Again, Anduaga showing why he is being widely hailed as the ‘next great thing’. He has a supremely gifted lyric voice that soars effortlessly. Moreover, he has a commanding stage presence. Alongside Sierra, herself well known in the role here of Gilda, and also widely acknowledged for her sublime vocal gifts and musicality, together they created an irresistible force.

Another comedic interlude “Don Pasquele” next, from “Donizetti.” Huw Montague Rendall and Carlos Alvarez performing “Cheti, cheti, immantinente” with aplomb. Vocally commanding, reverberant, at times mellifluous, and totally chucklesome.

The final offering from Verdi was in the form of “La Forza del destino” firstly with Jonas Kaufmann and Amartuvshin Enkhbat in “Le minaccie, i fieri accenti” and then in the trio “Non imprecare umiliati” with Sondra Radvanovsky and Insung Sim. Kaufmann performed this role on this stage to huge, critical acclaim in 2019. His glorious, unique honeyed phrasing was still in evidence here, but it was also clear that he was still suffering from the malady that had rendered him inoperable mere days before this performance. I saw him turn his head and cough twice during his interactions here. Again, Radvanovsky was flawless, with Sim and Enkhbat providing stellar support.

It would be impossible to honour such a luminary as Pappano without heaping commensurate praise on those who enact his creativity and bear the fruit of his teachings. The chorus I have already alluded to, and they got to shine further in Leoncavallo’s “Andiam….Don din don’’ from “Pagliacci.” This ensemble really is the lifeblood of the opera house and the phrase, “acting and moving as one” was never more appropriate than here. Firstly, though, the orchestra themselves got to revel in the second Puccini offering of the evening, the Intermezzo from “Manon Lescaut.” This most moving rendition exemplified to perfection the seemingly unique gifts that Pappano possesses in being able elicit such beauty and that “something extra” from his orchestra. The audience response at the end suggested they thought likewise.

The penultimate performance was given to Richard Strauss and “Der Rosenkavalier.” Lisette Oropessa, Diana Damrau and Aigul Akhmetshina, along with Gerald Finley, sang “Marie Theres’…..Hab mir’s gelobt.” This is a work Pappano hasn’t conducted in a quarter of a century, and he perhaps chose this to illustrate the talents of the girls over any personal preference for the piece.

The finale, was the “Guillaume Tell” Finale. Lisette Oropesa, Jette Parker  artist Sarah Dufresne, Veena Akama-Makia, Xabier Anduaga, Gerald Finley, Insung Sim, Jeremy White and the Royal Opera Chorus got to close proceedings in style. Gerald Finley really did save his best ‘til last here, sonorous, rich and resonant with his entirely appropriate “Tout change et grandit en ces lieux!”: “Everything changes and grows here!”

The performances were interspersed with narration and presentation from British Broadcaster Petroc Trelawny and pre-filmed plaudits from everyone from the Chorus, to stage directors, producers to industry big-wigs were shown, via drop down projector screen. It is clear from my own personal interactions with performers and artists, that more than anything, Pappano is a “singer’s conductor.” The love, respect and universal adulation for him by anyone in the classical music world is, genuinely palpable.

I have written previously that Maestro Pappano, more than any other conductor, seems able to coax, accentuate, and present passages with greater nuances that augment and heighten the emotions. I have witnessed performances, (such as “Turandot” at the Royal Opera House),  where he manages to elucidate and interpret scores in a way that makes it infinitely superior to any other performance I have witnessed. Whilst the Maestro now moves on to become the chief conductor of the London Symphony Orchestra, it is unequivocal that he will be welcomed back at the Opera House by, (hopefully), frequent invitation.

In 1992, he was named music director the Théâtre Royal de la Monnaie in Brussels where he enjoyed a highly successful 10 years. When he left to take up his role at the Royal Opera House, he was he was showered with red roses and presented with gifts from the orchestra at his farewell concert. A notable critic wrote at the time: “if the Belgians know what they are losing, the English have only a tiny idea of what they are gaining.”

For the ROH and opera fans everywhere, it is all too sadly clear what they are losing.

The post Royal Opera House 2023-24 Review: Celebrating 22 Years of Sir Antonio Pappano appeared first on OperaWire.

OPÉRA

The season opens with “Festival Hip Hop’Era.” 

Performance Date: Sept. 7, 2024

Hélène Guilmette, Valentine Lemercier, Enguerrand de Hys, Philippe-Nicolas Martin, Matthieu Lécroart, Floriane Derthe, Antoine Foulon, Geoffrey Carey, and Matthieu Walendzik star in Charles Lecoq’s “La Fille de Madame Angot.” Chloé Dufresne conducts the production by Richard Brunel.

Performance Dates: Sept. 27-29, 2024

Stefano La Colla, Alessio Cacciamani, Dalibor Jenis, Ekaterina Bakanova, and Valentina Boi star in Puccini’s “Edgar.” Giuliano Carella conducts the production by Nicola Raab.

Performance Dates: Nov. 7-12, 2024

“Les Années Folles” will be conducted by Sébastien Driant.

Performance Date: Nov. 29, 2024

Pianist David Kadouch and soprano Sarah Aristidou star in “Transfiguré 12 Vies de Schönberg.” Johanna Malangré conducts the production by Bertrand Bonello.

Performance Date: Dec. 6, 2024

Joel Prieto, Sidney Mancasola, Joan Martin-Royo, Antonio Di Matteo, Barnaby Rea, and Tetiana Zhuravel headline Mozart’s “The Magic Flute.” Jean-Christophe Spinosi conducts the production by Cédric Klapisch.

Performance Dates: Jan. 24-30, 2025

Ilona Revolskaya, Valentin Thill, Jérémy Duffau, Marina Ogii, Louis Morvan, Paul Gay, and Oleg Volkov star in Martinů’s “Juliette ou la Clé des songes.” Anthony Hermus conducts Jean-Philippe Clarac et Olivier Delœuil (Le Lab)’s production.

Performance Dates: March 11-15, 2025

Rossini’s “Il Barbiere di Siviglia” wil star Dave Monaco, Marc Barrard, Lilly Jørstad, Gurgen Baveyan, and Adrian Sanpetrean. Beatrice Venezi conducts Benoît Benichou’s production.

Performance Dates: May 2-8, 2025

Ramona Zaharia, Jean-François Borras, Jean-Fernand Setti, and Perrine Madoeuf conducts Bizet’s “Carmen.” Lionel Bringuier conducts the production by Daniel Benoin.

Performance Dates: May 28-June 3, 2025

Frédéric Deloche conducts “Carmen Street” in a production by Jean-Philippe Delavault.

Performance Dates: June 21 & 22, 2025

Concert 

Mikalojus Konstantinas Čiurlionis and Gustav Mahler make up a program headed by soprano Lauryna Bendžiūnaitė and conductor Marko Letonja.

Performance Date: Oct. 19, 2024

Händel’s “Acis et Galatée” will star Maria Ladurner, Alexandre Baldo, Marco Angioloni, Chloé de Guillebon, and Jeanne Vitez. Émilie Delbée directs.

Performance Date: April 13, 2025

The post Sarah Aristidou, Joel Prieto, Sidney Mancasola & Ramona Zaharia Headline Opéra Nice Côte d’Azur’s 2024-25 Season appeared first on OperaWire.

At the very opening of Damiano Michieletto’s new production of “Carmen,” I was struck by a very vivid sense of déjà vu! Before the curtain rises, a very sombre, spectral lady enters the stage, dressed in black with lace mantilla. For a brief instant, I thought I was back, four days PREVIOUSLY in the same house, where I reviewed “Lucia di Lammermoor,” a production that was proliferated with phantoms wandering, menacingly, on to the stage at regular intervals. 

And, as in THAT opera, the lady in question here, (presumed to be some depiction of Don José ‘s mother), was equally the symbolic prophecy of doom. Perhaps it’s the current trend at Covent Garden to have silent harbingers of ruination.

There are no jolly Gypsy wilderness settlements here; no romantic, breathtaking mountain backdrop trysts, no cigar rolling on maidens’ thighs. Whilst I’m an advocate of updating old productions, even to a more contemporary setting, (here we’re somewhere around the 1970’s), staging and direction wise this performance fails on many levels. From the opening scenes, where the townsfolk appear too many, too conjoined and too engaged in overly contrived occupations with over elaborate hand-gestures and physical demeanours; to the final scenes where Carmen meets her demise, devoid of any witnesses, their appears to be anomalies with almost every one of Paulo Fantin’s set designs.

The second Act, which the program describes as being located in a nightclub, is very clearly a true den of iniquity, if not an actual brothel. Certainly, the lighting, fittings and stage directions reinforce and compel that impression. Actually, there is the rub. The settings themselves are viable, just the interactions of the performers within them which seems to augment the irregularities.

In the first act for example, the children’s chorus gather in the Town square, in succession. A wanderer here, a cyclist there, another little huddle, then more bicycles which all then adopt their carefully allotted positions before commencing their performance, requiring them to take up an obvious static, preparatory pose, spread across the entire stage. This exuded a tinge of ominousness, almost reminiscent of a scene from Stephen King’s “Children of the Corn.” This illusion was compounded when they proceeded to bully the younger children, who fled screaming. Fortunately, their singing was quite exquisite, which, as is so often the case, (and for which I find myself frequently repeating), was the saving grace for the whole show.

The ensemble of women whose affray antics lead to the eventual arrest of Carmen was comedic, their fight scenes completely without credibility and poorly choreographed. Vocally however, they too, as with all the opera house chorus, were quite wonderful.

Ideal Interpreters

Russian Mezzo-Soprano Aigul Akhmetshina is almost universally acclaimed as the Carmen of our times, a role for which she is constantly developing, and one which has attracted the attention of every opera house in the world in their clamour to sign her. At 27, inarguably beautiful and with natural charisma and stage presence, as Carmen she exudes self-assurance and fortitude in equal measure. Moreover, she possesses a fabulous instrument, a rich, creamy, velvety mezzo with a wonderful timbre and wide-ranging palette. She has a beautiful, dusky lower register yet produces thrilling, clarion top notes. Consequently, her “Habanera” and “Seguidilla” were glorious, flamboyant, effortless, and well received. Her “En vain pour éviter,” however, was her true triumph, where she was at her most stirring and emotive.

A consummate actress, she portrays all the qualities of the ideal Carmen; feisty, independent, mesmerizing, beguiling, yet retaining convincing vulnerability. But…she has a big job to do here, her given stage directions doing little in the way of contributing to the authenticity of her dalliances with either Don José OR Escamillo.

In the former, there was no establishing connection between the two, no tangible or visible interrelation. No romance, no flirtatious enactments, NOTHING in either Carmen’s or Don José’s script here to suggest any blossoming romance. Merely a promise of illicitness in exchange for her freedom in the police station scene. Again, this is not as a result of any acting deficiency, just purely eccentric stage directing.

Acclaimed Polish tenor Piotr Beczała takes the role of Carmen’s jealous, murderous lover, Don José. A tenor still at the very top of his game, he sings with authority and assuredness. He has an evocative chest voice and an accomplished top with ping and beauty of tone. His big aria, “La fleur que tu m’avais jetée” was solid and impassioned and his final scenes were utterly convincing where his emotion and turmoil were allowed to be displayed. His “Eh bien, damnée!” uttered when approaching Carmen to kill her was intense. Again, Beczala has already established credentials as a fine actor, but his direction here renders him a contemplative, introspective lover whose imperious voice did all the characterization. In his scene with his ardent admirer, Micaëla, the famous letter duet, he is clearly most disinterested in the girl, never holding her gaze for a moment and striding purposely around the stage, wrangling with his own personal emotions. I considered this to be a bizarre interpretation of this scene as it is a most pivotal, fundamental contribution to the whole tale: Micaëla’s wholesome infatuation with Don José contrasting with Carmen’s, seemingly superficial and salacious flirtations with him. More noticeable was the fact that, despite delivering Don José’s letter to him from his mother, with the promise: “Un baiser pour son fils! José, je vous le rends, comme je l’ai promis.” (A kiss for her son! José, I give it to you as I promised), Micaëla never DOES give him the kiss, a bizarre omission and curious omission from Bizet’s tale.

Not Quite There

The role of Escamillo is, almost by definition, the epitome of Alpha male; confident, forceful, a toreador of supreme charm and confidence, and usually large of voice. Alas, Lithuanian bass-baritone Kostas Smoriginas doesn’t quite fulfill any of those capacities. Dressed in a weird, gaudy mustard green tinged suit, he came across more as a shady, dandy hustler than a bull fighter. His dress and demeanor totally undermined his entry, usually a grand affair in this opera. Worse, he initially struggled to project with his famous Toreador’s song producing a somewhat underwhelming rendition. He DID, however, manage to emit a more pronounced and convincing sound in his confrontations with Don José. A former Jette Parker member, his voice is unquestionably fine, just seemingly underpowered on this occasion. Additionally, he didn’t really convince as a man of steel, engaging in an odd ruckus with Don Jose which sees him torment his rival a la toreador, using his jacket as a bullfighter’s cape, a clever idea but in theory. The ensuing brawl over dramatic and contrived, so as to be almost comedic.

Likewise, despite otherwise very favorable reviews elsewhere of Ukrainian soprano Olga Kulchynska in the role of Micaëla, on this occasion I found her wanting, vocally, especially in her interactions with Don José. I am inclined to feel she may have been under the weather on this occasion as she clearly possesses a fine soprano instrument, which did manage to produce with some evocative moments and resonant head notes in her smuggler’s hut aria, “Je dis, que rien ne m’épouvante.” I also found her diffidence and comedic timidness and insecurity touching, especially in the mother’s letter scene.

Kudos must also go to the other performers, as well as the Jette Parker Artists Programme for their nurturing of such fine talents. Blaise Malaba, as a formidable Zuniga with a splendid, sonorous tone. I would love to hear HIM tackle the role of Escamillo.

French tenor Vincent Ordonneau had a ball as Remendado, enthusiastically getting to grips as one of the smugglers and having a bright, dominant tenor voice. He is surely destined for bigger roles.

Impressive Turns

Speaking of people destined for bigger roles; I have been repeatedly impressed with Canadian soprano Sarah Dufresne. I first reviewed her very brief performance as a very aptly named ‘‘Voice from heaven’, in “Don Carlo” and she appears here as Frasquita, heavenly voice tangibly intact. She conducts herself with great physical confidence and is endowed with a beautiful, lyric soprano voice of some quality. Lithuanian mezzo-soprano Gabrielė Kupšytė gets to play her bestie, Mercédès, who also sparkles and radiates joie de vivre.

As already stated, the chorus were magnificent and beautifully harmonious. The children’s chorus, likewise, producing splendid music, although they were rather also bizarrely employed in the entr’actes, where they got to parade in front of the closed curtain and announce the passages of time via cardboard panels spelling out the French proclamations, including “One Month Later,” etc. Very cute and frivolous, first-time round. After several repetitions, however, particularly when one of the kids gets to ham it up, (getting left on the stage after the others have exited before feigning surprise and running off to join them), it not only loses its appeal, but the untimely slapstick interjection sits a tad uncomfortably with the gravity of the impending dark conclusion to the opera.

The orchestra were proficient enough, although I don’t think I’ve seen a more laid-back conductor than Antonello Manacorda who resorted to conducting, at times, with the tiniest of hand gestures, as though he was happy to let the orchestra get on with it. This translated into a slight lack of cohesion at times, I felt, although the individual instrumental solos were sublime.

I feel that having attained such great success and acclaim with his revolving sets in “Cavalleria Rusticana/Pagliacci” at the end of last year on the same stage, Michieletto concluded that employing the same technique would enhance his production here. It did not. Whereas, in that award-winning staging, the sets turned to reveal evocative and salient sub-plots and conjoined incidents, creating atmospheric expectation, here they turn to reveal only anti-climaxes. The repetition here is far too redolent of his previous efforts and consequently far too easy to make comparisons and to accentuate its inferiority to the original.

Special mention MUST, however, go to lighting designer Allesandro Carletti, who created some quite splendid effects with glorious color, spots, and fills, without which these sets would have been infinitely drabber.

The post Royal Opera House 2023-24 Review: Carmen appeared first on OperaWire.

The company will showcase the new production by Damiano Michieletto and will star Aigul Akhmentshina in the title role. She will be joined by Piotr Beczala as Don José, Kostas Smoriginas as Escamillo, and Olga Kulchynska as Micaëla.

The cast will be rounded out by Blaise Malaba, Sarah Dufresne, Gabrielė Kupšytė, Pierre Doyen, Vincent Ordonneau, and Grisha Martirosyan.

Antonello Manacorda will conduct the production.

“Carmen” will be broadcast live to 970 cinemas across 21 countries with Encore screenings from May 5, 2024.

The post Aigul Akhmentshina Headlines the Royal Opera House’s ‘Carmen’ in Cinemas appeared first on OperaWire.

Opera

Giacomo Sagripanti conducts Verdi’s “Nabucco” with Stefano Poda directing. Gezym Myshketa, Aleksei Isaev, Yolanda Auyanet, Catherine Hunold, Jean-François Borras, Nicolas Courjal, Sulkhan Jaiani, and Irina Sherazadishvili star.

Performance Dates: Sept. 24-Oct. 6, 2024

Stefan Plewniak conducts a concert performance of Purcell’s “Dido and Aeneas.” Sonya Yoncheva stars.

Performance Date: Oct. 7, 2024

Alix le Saux, Emiliano Gonzalez Toro, Lorrie Garcia, Juan Sancho, Natalie Perez, Nicolas Brooymans, Jordan Mouaissia, Mathilde Étienne, Cristina Fanelli, and Pauline Sabatier star in Caccini’s “Alcina.” Emiliano Gonzalez Toro conducts the production by Mathilde Étienne.

Performance Date: Oct. 13, 2024

Mantovani’s “Voyage d’Automne” will star Pierre-Yves Pruvot, Stefan Genz, Emiliano Gonzalez Toro, Vincent Le Texier, Yann Beuron, Jean-Christophe Lanièce, William Shelton, Enguerrand De Hys, and Gabrielle Philiponet. Pascal Rophé conducts the production by Marie Lambert-Le Bihan

Performance Dates: Nov. 22-28, 2024

Cyrille Dubois and Marie Perbost star in Offenbach’s “Orphée aux Enfers” alongside Mathias Vidal, Marc Scoffoni, Adriana Bignani Lesca, Rodolphe Briand, Anaïs Constans, Marie-Laure Garnier, Céline Laborie, Julie Goussot, Enguerrand De Hys, Ben Hsain Lachiri, and Lucile Verbizier. Chloé Dufresne conducts the production by Olivier Py.

Performance Dates: Jan. 24-Feb. 2, 2025

Elizabeth DeShong, Claudia Pavone, Rose Naggar-Tremblay, Key’mon Murrah, Nils Wanderer, Edwin Fardini, William Shelton, and Adrien Fournaison star in Handel’s “Giulio Cesare.” Christophe Rousset conducts the production by Damiano Michieletto.

Performance Dates: Feb. 21-March 2, 2025

Karine Deshayes and Claudia Pavone lead Bellini’s “Norma” with Varduhi Abrahamyan, Eugénie Joneau, Luciano Ganci, Mikheil Sheshaberidze, Roberto Scandiuzzi and Adolfo Corrado. Hervé Niquet conducts the production by Anne Delbée.

Performance Dates: March 26-April 6, 2025

Aleksei Isaev, Marie-Adeline Henry, Airam Hernández, Jean Teitgen, and Eugénie Joneau lead Wagner’s “Der Fliegende Holländer.” Frank Beermann conducts the production by Michel Fau.

Performance Dates: May 16-27, 2025

Giampaolo Bisanti conducts Cilea’s “Adriana Lecouvreur” in a new production by Ivan Stefanutti. Lianna Haroutounian, José Cura, Nicola Alaimo, Judit Kutasi, and Roberto Scandiuzzi lead the production.

Performance Dates: June 20-29, 2025

Recitals 

Stéphane Degout and Alain Planès lead a program of music by Gabriel Fauré, Henri Duparc, Johannes Brahms, and Robert Schumann.

Performance Date: Nov. 20, 2024

Adèle Charvet and Florian Caroubis perform in recital.

Performance Date: Nov. 27, 2024

Marina Rebeka and Mzia Bakhturidze perform a recital.

Performance Date: Dec. 1, 2024

Krassimira Stoyanova and Vyara Schuperlieva perform Italian and Russian melodies.

Performance Date: Jan. 19, 2025

Samuel Hasselhorn and Philippe Cassard team up for a recital.

Performance Date: Jan. 30, 2025

Véronique Gens takes on Poulenc’s “La Voix Humaine” alongside Christophe Manien.

Performance Date: Feb. 26, 2025

Rose Naggar-Tremblay and Julien LeBlanc perform a recital.

Performance Date: Feb. 27, 2025

Michael Volle and Sarah Tysman perform Lieder by Schubert.

Performance Date: March 6, 2025

The Lauréats Voix Nouvelles 2023 will perform an evening of song. The soloists include Héloïse Poulet, Lotte Verstaen, Léo Vermot-Desroches, and Rodolphe Lospied.

Performance Date: April 3, 2025

Airam Hernández and Anne Le Bozec perform in recital.

Performance Date: May 23, 2025

Roberto Scandiuzzi and Nino Pavlenichvili take on a recital.

Performance Date: June 10, 2025

Concerts 

Hélène Walter joins the Ensemble Orchestral Contemporain and Bruno Mantovani in music by Berio, Schoenberg, and Mantovani.

Performance Date: Nov. 23, 2024

Ramón Vargas sings the Misa Criolla with the Chœur de l’Opéra national du Capitole and Emiliano Gonzalez Toro.

Performance Dates: Dec. 7 & 8, 2024

Andreea Soare, Furio Zanasi and Victor Sordo sing Monteverdi with Les Sacqueboutiers.

Performance Date: May 24, 2025

Gabriel Bourgoin conducts Orff’s “Carmina Burana” with Anaïs Constans, Pierre-Emmanuel Roubet, and Thomas Dolié.

Performance Dates: June 27 & 28, 2025

The post Yolanda Auyanet, Karine Deshayes, Stéphane Degout & José Cura lead Opéra National du Capitole de Toulouse’s 2024-25 Season appeared first on OperaWire.

Premieres

Arrigo Boito’s “Mefistofele” is conducted by Andrea Battistoni and directed by Eva-Maria Höckmayr. The production will star Krzysztof Bączyk, Bekhzod Davronov, Marjukka Tepponen, and Martina Gedeck.

Performance Dates: Sept. 28-Oct. 24, 2024

Richard Strauss’s “Intermezzo” will be conducted by Patrick Hahn and directed by Axel Ranisch. The cast will include Maria Bengtsson, Christoph Pohl, Ute Selbig, James Ley, and Jürgen Müller.

Performance Dates: Nov. 1-Dec. 9, 2024

Sergej Prokofjew’s “The Love for Three Oranges” will be directed by Evgeny Titov and conducted by Erik Nielsen. The cast will include Georg Zeppenfeld, Mauro Peter, Nadezhda Karyazina, Aaron Pegram, and Flurina Stucki.

Performance Dates: Dec. 7, 2024-Jan. 3, 2025

Pedro Beriso & Mart van Berckel’s “Ändere die Welt!” is conducted by Pedro Beriso and directed by Mart van Berckel. Magdalena Lucjan, Fernanda Allande, Anton Beliaev, Vladyslav Buyalskiy, and Amara van der Elst star.

Performance Dates: Dec. 19-Jan. 7, 2025

Maurice Ravel’s “Das Kind und der Zauberspuk” will star Nicole Chirka, Michal Doron, Magdalena Lucjan, and Jasmin Delfs. Elias Grandy conducts the production by James Bonas.

Performance Dates: Feb. 16-March 19, 2025

Kaija Saariaho’s “Innocence” is conducted by Maxime Pascal and directed by Lorenzo Fioroni. Paula Murrihy, Rosalia Cid, Anu Komsi, Mario Lerchenberger, and Markus Butter star in the production.

Performance Dates: March 15-April 11, 2025

Tuuli Takala, Oleksandr Pushniak, Liparit Avetisyan, Valerie Eickhoff, Danylo Matviienko, and Georg Zeppenfeld star in Gound’s “Roméo et Juliette.” Robert Jindra conducts the production Barbara Wysocka.

Performance Dates: May 3-June 8, 2025

David Butt Philip, Erin Morley, Tichina Vaughn, and Christoph Pohl star in Leonard Bernstein’s “Candide.” Karen Kamensek conducts.

Performance Dates: May 11-18, 2025

Florian Boesch, Jake Arditti, Jasmin Delfs, Mary Bevan, and James Ley star in Georg Friedrich Händel’s “Saul.” The production will be directed by Claus Guth and conducted by  Leo Hussain.

Performance Dates: June 1-July 2, 2025

Leonard Evers’ “humanoid” will be conducted by Chloé Dufresne and directed by Lars Marcel Braun. Sofia Savenko, Dominika Škrabalová, Johannes Wieners, Jongwoo Hong, Gerrit Illenberger, and Andreas Scheibner.

Performance Dates: June 13-25, 2025

Repertoire 

Axel Kober conducts Wagner’s “Der fliegende Holländer“ with a cast that includes Michael Volle, Jennifer Holloway, Georg Zeppenfeld, Christa Mayer, Tomislav Mužek, and Mario Lerchenberger.

Performance Dates: August 29-Sept. 20, 2024

Anton Rositskiy, Ante Jerkunica, Jérôme Boutillier, Tilmann Rönnebeck, Aaron Pegram, Vladyslav Buyalskiy, Jürgen Müller, Matthias Henneberg, Tuuli Takala, Štěpánka Pučálková, and Anton Beliaev star in Berlioz’s “Benvenuto Cellini.” Giampaolo Bisanti conducts.

Performance Dates: August 30-Sept. 29, 2024

Christoph Pohl, Danylo Matviienko, Julia Kleiter, Elena Gorshunova, Anna El-Khashem, Elsa Benoit, Michael Nagl, and Cecilia Molinari star in Mozart’s “Le Nozze di Figaro.” Riccardo Minasi and Andrés Orozco-Estrada conduct. 

Performance Dates: Sept. 3, 2024-March 29, 2025

Daniele Squeo conducts Rossini’s “Il Barbiere di Siviglia” with Jonah Hoskins, Misha Kiria, Valerie Eickhoff, Joshua Hopkins, and Aleksei Kulagin.

Performance Dates: Sept. 4-21, 2024

Three casts will be showcased in the revival of Mozart’s “Die Zauberflöte” with Georg Zeppenfeld, Dimitry Ivashchenko, Tilmann Rönnebeck, Julia Sitkovetsky, Maria Perlt-Gärtner, Maria Perlt-Gärtner, Victoria Randem, Tuuli Takala, Heidi Stober, James Ley, Magnus Dietrich, Michael Nagl, Danylo Matviienko, Timothy Oliver, Aaron Pegram, Markus Marquardt, Sofia Savenko, Martin-Jan Nijhof, and Magdalena Lucjan. Gaetano d’Espinosa, Katharina Müllner, and Giulio Cilona conduct. 

Performance Dates: Sept. 6, 2024-June 6, 2025

“Drei miese, fiese Kerle” will star Larissa Wäspy, Christiane Hossfeld, Sarah Alexandra Hudarew, Doğukan Kuran, and Daniel Pastewski. David Preil conducts. 

Performance Dates: Sept. 7-19, 2024

Gregory Kunde and Najmiddin Mavlyanov star in Verdi’s “Otello” alongside Alexey Markov and Polina Pastirchak. Timur Zangiev conducts.

Performance Dates: Oct. 2-19, 2024

Martin Gerke, Franziska Schuster, Christian Venzke, Bettina Weichert, and Til Ormeloh star in “Woyzeck.“ Max Renne conducts.

Performance Dates: Oct. 2-15, 2024

David Afkam conducts Beethoven’s “Fidelio” with a cast that includes David Butt Philip, Markus Marquardt, Marlis Petersen, Jasmin Delfs, Georg Zeppenfeld, Mario Lerchenberger, and Neven Crnić.

Performance Dates: Oct. 3-26, 2024

Puccini’s “La bohème” will star Marjukka Tepponen, Tuuli Takala, Elbenita Kajtazi, Slávka Zámečníková, Rosalia Cid, Tomislav Mužek, Bekhzod Davronov, Long Long , Navasard Hakobyan, Danylo Matviienko, Gerrit Illenberger, Aleksei Kulagin, Alexander Kopeczi, Anton Beliaev, and Alexandros Stavrakakis. Stefano Ranzani, and Antonello Allemandi conduct.

Performance Dates: Oct. 20, 2024-June 27, 2025

Amanda Majeski stars in Strauss’ “Salome” with Markus Marquardt, Mario Lerchenberger, and Evelyn Herlitzius. Juraj Valčuha conducts.

Performance Dates: Nov. 2-10, 2024

Tuuli Takala and Emily Pogorelc star in Verdi’s “La Traviata” with Piotr Buszewski, Bekhzod Davronov, James Rutherford, and Christoph Pohl. Gaetano d’Espinosa and Marta Gardolińska alternate at the podium. 

Performance Dates: Nov. 9, 2024-Jan. 25, 2025

Humperdinck’s “Hänsel und Gretel” returns for the Holidays with two casts. The opera will star Nicole Chirka, Valerie Eickhoff, Andrea Carroll, Christina Gansch, Markus Marquardt, Oleksandr Pushniak, Christa Mayer, and Evelyn Herlitzius. John Fiore conducts. 

Performance Dates: Dec. 10-26, 2024

J. Strauss’ “Die Fledermaus“ will be star Christoph Pohl, Flurina Stucki, Mario Lerchenberger, Josy Santos, Jasmin Delfs, and Rafael Fingerlos. Marcus Merkel conducts. 

Performance Dates: Dec. 31, 2024-Jan. 17, 2025

“The Toxic Avenger” will be conducted by Alexander Hoetzinger and will star Lukas Witzel, Lara Hofmann, and Anna Overbeck.

Performance Dates: Jan. 16-30, 2025

Georg Fritzsch conducts Weber’s “Der Freischütz” with Markus Butter, Tilmann Rönnebeck, Golda Schultz, Mirjam Mesak, Ante Jerkunica, and Maximilian Schmitt.

Performance Dates: Feb. 15-28, 2025

Marjukka Tepponen, Christa Mayer, Tomislav Mužek, and Neven Crnić star Puccini’s “Madama Butterfly.” Paolo Arrivabeni conducts.

Performance Dates: Feb. 22-March 16, 2025

Pavol Breslik takes on the title role of Wagner’s “Lohengrin” with Georg Zeppenfeld, Johanni van Oostrum, Markus Marquardt, Anja Kampe, and Birger Radde. Sebastian Weigle conducts. 

Performance Dates: March 30-April 6, 2025

Maria Agresta, Joseph Calleja, and Erwin Schrott star in Puccini’s “Tosca” with Marco Armiliato conducting.

Performance Dates: April 5-May 1, 2025

Pretty Yende stars in Donizetti’s “Lucia di Lammermoor” with Bekhzod Davronov, Neven Crnić, and Peter Kellner. Roberto Rizzi Brignoli conducts

Performance Dates: April 20-May 8, 2025

Alejo Pérez conducts Puccini’s “Turandot” with a cast that includes Elisabeth Teige, Aleksei Kulagin, Yonghoon Lee, and Elbenita Kajtazi.

Performance Dates: June 7-22, 2025

Oksana Lyniv conducts Tchaikovsky’s “Eugene Onegin” with Sabine Brohm, Marjukka Tepponen, Nicole Chirka, Thomas Atkins, Danylo Matviienko, and Tareq Nazmi.

Performance Dates: July 3-11, 2025

The post Erin Morley, David Butt Philip, Pretty Yende, Maria Agresta & Maria Bengtsson Lead Semperoper Dresden’s 2024-25 Season appeared first on OperaWire.