Renée Fleming, our hostess with the mostest at the Metropolitan Opera’s latest cinema relay of Tosca a few weeks ago, urged us – as ever – to experience opera first-hand and to ‘come visit the Met’ or to support your local opera company. The Opera Britannia excursions budget wouldn’t get you as far as York, let alone New York, so my local company it was and performing the same opera too. Tosca is very much the safe, financial bolster to Welsh National Opera’s Tudor trilogy in its autumn season – a crowd-pleaser of a production excavated from 1992, but which seemed even older.
And so to Milton Keynes, pursued by a perishing wind fit to crack the famous concrete cows. The Milton Keynes Theatre, as a venue, is one of the jewels in the ATG crown, big enough to house almost any touring product, with spacious and well-designed auditorium and foyers. Unfortunately it is marooned in one of those soulless retail areas surrounded by a sea of mediocre chain outlets which offer the same tat or that which passes for food in a thousand other identical areas the world over. Whether it was position or the icy blasts which accounted for the poorly populated house is hard to say.
For all the risk-taking in the operatic world, productions which are guaranteed bums-on-seats bankers are like Nibelung gold. To scrap not one but two such productions is a brave move for English National Opera this season. We shall see what Christopher Alden inflicts on Rigoletto in the spring, replacing Jonathan Miller’s famous Little Italy staging. Meanwhile, Nicholas Hytner’s much loved production of The Magic Flute has finally been laid to rest (after a few ‘absolutely your last chance to see’ revivals), replaced with this new one by Simon McBurney and Complicite.
Described at the time as “an anarchist’s hand grenade,” The Nosewas not well received and soon disappeared from view, although Malko, one of Shostakovich’s teachers at the Conservatoire, recognised the quality of the score. It was composed in 1927-28 and given a concert performance, against Shostakovich’s better judgment, in 1929: “The Nose loses all meaning if it is seen just as a musical composition. For the music springs only from the action...It is clear to me that a concert performance of The Nose will destroy it."
After resisting the prevailing tide for opera houses beaming their wares to a worldwide cinema audience, English National Opera has seen the light. From 2014, selected productions will be screened at 300 cinemas around the UK and beyond, starting with its revival of David Alden’s production of Peter Grimes, starring Stuart Skelton. A new production, by Terry Gilliam, of Berlioz’s Benvenuto Cellini will also be relayed. Gilliam’s earlier Berlioz adventure, The Damnation of Faust, was broadcast on television.
Biography: Mary Robertson is an Emeritus Professor in Neuropsychiatry at University College London and visiting Professor at St George’s Hospital Medical School, London. Aside from being an opera devotee, Mary is a published poet and photographer.
(New poems added: 04/08/2010)
Dmitri Platanias will sing the title role when the Royal Opera revives its new production of Nabucco. Mariusz Kwiecien will be joined by Saimir Pirgu in Steffen Aarfing's production of Szymanowski's King Roger at Covent Garden in 2015. The Royal Opera will stage Andrea Chenier in 2014/15 with Jonas Kaufmann, Eva-Maria Westbroek and Željko Lucic.
Anna Netrebko is due to sing the role of Lady Macbeth for a single performance at the Bavarian State Opera in June 2014.
Maria Agresta will sing Lucrezia in Verdi's I due Foscari in the 2014-15 season at Covent Garden. Placido Domingo does the Doge double, adding the baritone role of Francesca Foscari to his Simon Boccanegra.
Corinne Winters, fresh from her triumph as Violetta in ENO's production of La traviata, is to return to the Coliseum next season as Teresa in Berlioz's Benvenuto Cellini. Michael Spyres sings the title role in a production which sees the return ofTerry Gilliam to the director's seat, after his Damnation of Faust debut.
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Although he claimed to have composed around ninety operas, there cannot be many left in the archives of the Biblioteca Nazionale in Turin for Naïve to record in its ongoing Vivaldi Edition if you discount pasticcios, reworkings and incomplete works. Their latest offering, the fourteenth opera in the series, falls into the latter category, for only Acts II and III of Catone in Utica have survived. The opera was written to celebrate the culmination of his third and final season at Verona’s Teatro dell’Accademia Filarmonica – a profitable success for the composer. Premiered in 1737, it is unknown whether Act I was even written by Vivaldi himself, or whether music by other composers was employed.
When this recital was first drawn to my attention, such is my regard for the Swedish mezzo that I immediately withdrew from reviewing Albert Herring some two hundred yards down the road in the Barbican, and enthusiastically opted for what I thought was an evening of French chansons and mélodies. What a prospect! Anne Sofie von Otter let loose on Chausson and Debussy, Fauré and Poulenc, perhaps some Gounod and Bizet, with maybe a little Délibes and/or Satie by way of let-your-hair-down encore material. All with her long-term musical accompanist Bengt Forsberg summoning up the necessary style. Rapture guaranteed, for which I arrived fully prepared.
Scholars now cast doubt on Lucrezia Borgia’s credentials as mass poisoner, but Donizetti’s operatic treatment on her historical character would have us believe she spiked drinks with cantarella and laced dishes with deadly nightshade like nobody’s business. Lucrezia, here on her fourth marriage (in reality, her third) to Alfonso d’Este, Duke of Ferrara, is reunited with Gennaro, her long-lost son. Unfortunately, she withholds this vital information from him and from her husband, who suspects her of conducting an affair. It’s as free an interpretation as the lusty television series The Borgias, which never got as far as this in Lucrezia’s marital history, but none the worse for that.
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