Elza van den Heever and the MET Orchestra: A stunning all-Strauss program
Reviews
In review: Adriana Lecouvreur at ROH
ReviewIn his role debut as Maurizio, Brian Jagde was a total standout performance. An athletic, strapping Count, Jagde had all the virile charisma that actor-types love. His sound was a throaty, grounded tenor with unreal beauty, and he wisely chose a handful of moments to show almost impossible volume. With Gheorghiu, Jagde created an honest relationship between Maurizio and Adriana. They had chemistry and respect for each other, reminiscent of Tosca and Cavaradossi.
In review: Götterdämmerung at the COC
ReviewThursday night, I blew into the Four Seasons Centre for the Performing Arts almost immediately after work - even planning all week I still just made the 5 minute call before the early curtain at 6pm. As is said before, this is my virgin Wagner (it was so hard not to write "Wirgin Wagner" just now) but I'm not unfamiliar with the Ring Cycle, and being the huge Tolkien junkie I am, I love me a good epic.
In review: Rigoletto at ENO
ReviewThe night truly went to Sydney Mancasola, in her company debut as Gilda. Her first sounds were clear as a bell, like a sorbet to Rigoletto's dark and murky world. Her singing was polished and thoughtful, with a stunning bloom at the top of her range. Frustrating as Gilda may be - though she comes by her innocence honestly - Mancasola sang with an earnest sound that reminded us of her youth and sheltered existence.
Tarrare the Freak: "I just want to be full."
ReviewWhy, in the time of CGI and robots, do puppets still retain their magic? The simple answer lies in the puppetry skills of Poster and Nakamura, who pushed their audience to laughter and disgust and pity. Yet the secret seems to lie in the transparency of the art form. The puppeteers were always visible; every set change was done nakedly, the audience in on all the tricks. Instead of spoiling the illusion, it added a second layer of wonder.
In review: Tim Mead & James Baillieu in recital
ReviewMead's sound is truly impeccable. When he sings, it's as if he's insistently speaking, listening to the impact of his words. He listened, too, to Baillieu at the piano. Baillieu, with his warm sound and enpathetic ear, is one of our favourite pianists these days. Baillieu has a knack for creating a soloistic phrase out of a singer's intent; he follows, without losing his autonomy.
In review: Three Way
ReviewExposure to culture so outwardly, unabashedly about sex (whatever form it takes) will very likely challenge the typical Nashville Opera patron (#biblebelt). Three Way manages to take a subject that is most taboo, particularly in the American South, and – I think, I hope – manages to inspire its audiences to a greater understanding of their fellow person…which is something we all super need right now.
In review: La traviata at ROH
ReviewThe broad-strokes architecture of the opera's four sets are a clean contrast against the ladies' luxurious dresses, even against the messy humanity of Verdi's simple, classic tale of love and the opinions of others. Joyce El-Khoury's Violetta comes with easy charisma, and a strong desire to maintain composure and dignity. El-Khoury matured along with Violetta's story, yet somehow retained a young voice, full of the best intentions. Her third-act aria, "Addio del passato" was the highlight of the night.
In review: #COCFlute sparkles
ReviewThe second act drops us fully into their world as we follow Tamino, Papageno, and later Pamina through their trials to join Sarastro's order, the union of male and female being pivotal to the outcome. The only thing I missed in this concept was the closing of the metatheatrical envelope. Once the second act started, we never saw the concept established in the first act return to complete the idea.
In review: Written On Skin at ROH
ReviewWhat's most thrilling about this Written on Skin was how the piece itself shone through Mitchell's production. Phrases from the libretto - like "blame her for everything" - leapt out as though shouted; Benjamin's use of the glass armonica - the instrument of "hysteria" - is well-timed and significant. Though it didn't overshadow the human stories of Agnès and The Protector, there was clear commentary on free will, and the cruelty inherent in God's creation of man.
In review: La Colla & Katzarava in recital
ReviewAt the same time, Wigmore Hall is not conducive to an evening of opera scenes. The two singers seemed to fall into a groove, carved from their respective past performances of Butterfly or Turandot. They seemed to want to fill the recital stage with stuff, making up for the lack of sets and costumes and space, when instead they could have done less, and simply let their voices do the work.