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Good times at the opera in 2018

Venice, Teatro Malibran, 2018

You may or may not know, but for the past few years all of late December has been family time chez dehhgi. So now that New Year is being celebrated at the ancestral home, yours truly gets involved in food preparation. Due to a fluke (a less adventurous one than the setting up of the 2017 Christmas tree 😉 ), we ended up cooking all we wanted to cook yesterday, leaving quite a bit of thumb twiddling time for today, just right for a recap of what I took part – and what I skipped or missed – in 2018.

I think the right word for 2018 is fabulous, in its glamorous connotation – Venice, Salzburger Festspiele and lots of Glyndebourne, with notable stops in Halle and at the Bremen Music Fest, all of which spawned wonderful memories from meeting up with you, gentle reader, for some rocking performances (and a certain odd production). I think I may also start paying rent at Wiggy, since from the below list it looks like I went there at least once a month, with the notable exception of August, festival month.

Hope to see you at a theatre near you (or me) in 2019 😀 though what is on at the usual places does not look quite as exciting as before. Then again, there were some things this year I did not know I was going to see until closer to the time…

Salzburg opera mile, 2018

January

11 Sonia Prina | Wigmore Hall – a good way to start the year, right?

17 Salome | ROH

21 Il ritorno d’Ulisse in patria | Roundhouse – I like this January Monteverdi fixture every couple of years. After we are done with the rep, can we start over?

23 Classical Opera (Mozart’s 1768)Wigmore Hall

25 Anna Bonitatibus and friendsWigmore Hall

27 Anna BonitatibusWigmore Hall – I did not write about it because she did not sing from En travesti and I was a bit underwhelmed by her choices. But, of course, she is wonderful 🙂

31 Angelika Kirchschlanger | Wigmore Hall

February

4 Adrian Behle | Wigmore Hall

Golda Schultz | Wigmore Hall

8 English Concert (Buxtehude) | Wigmore Hall – I was sick for the rest of the month, along with Mum (who was visiting…) and one of my cats. Not the best of times chez dehggi by a very long shot.

26 Les Talens Lyriques | Wigmore Hall

March

13 Rinaldo | Barbican – quite the letdown, aside from Pisaroni as Argante. Both Davies and Harvey did much, much better at Glyndebourne later in the year.

14 From the House of the Dead | ROH

20 Christine RiceRebecca Evans | Wigmore Hall

22 Esther | Wigmore Hall – this year most of the festivals happened elsewhere. This was the only London Handel Fest performance I saw and in the end I did not write about it. Not the best Handel I have seen, I would say, though for sure nowhere near the worst.

26 D’Odette | Wigmore Hall

April

5 Haim / Crebassa / Desandre / Devieilhe | Wigmore Hall – yes, this happened. Do not ask me details, as I cannot remember much, beside enjoying the deft playing of the band that did not need extra fireworks. The same Desadre that wowed me in Salzburg did not do much for me here. Perhaps I was bummed Crebassa bailed on me us?

7 Dido and Aeneas | Wigmore Hall

19 Orlando furioso | Teatro Malibran, Venice

21 Orlando furioso | Teatro Malibran, Venice – this was such a fun trip, I do need to write about it again.

24 Matthias Goerne | Wigmore Hall

May

1 Sonia Prina / Vivica Genaux | Wigmore Hall

3 Mauro Peter | Wigmore Hall

4 Lucy Crowe | Wigmore Hall

6 Royal Academy | Wigmore Hall

16 Hannigan Masterclass | Linbury Studio

21 Sara Mingardo / Francesca Biliotti | Wigmore Hall

24 Lessons in Love and ViolenceROH – it did spawn some interesting ideas (about love and violence) which in the end did not coagulate into a post. I kinda wish I had persevered but sometimes where there is a lot on the roster it is not easy to get your mind disciplined about something you do not particularly enjoy as such.

27 Simon Keenlyside | Wigmore Hall

June

4 Franco Fagioli | Barbican

5 Stephane Degout | Wigmore Hall

9 Arianna in Creta | Konzerthalle Ulrichskirche Halle Handelfest – after a couple of years of feasts, we have missed Hallenberg in London, so this was an awesome treat.

13 Jakub Jozef Orlinski | Wigmore Hall

15 Giulio Cesare | Glyndebourne – THE Glyndebourne Cesare! With overseas friends! A good metaphor for blogging about opera, right?

17 Ian Bostridge | Wigmore Hall

18 Christine Rice Julien Van Mallaerts | Wigmore Hall

19 Der Rosenkavalier | Glyndebourne

23 Giulio Cesare | Glyndebourne – and again 😀

Glyndebourne 2018

July

2 Veronique Gens | Wigmore Hall

6 Sandrine Piau | Wigmore Hall – that was the week of fabu French singers and I did not write up on them. For no fault of theirs, they were wonderful as usual in their light and sophisticated way. I was absolutely rotten lazy/tired in July, as you can see by the lack of activity below.

9 Felicity Palmer | Wigmore Hall

15 JPYA | ROH – yes, I went again but I did not write, although I had an absolutely hilarious seatmate, very much up my own alley in spirit. The show itself was a bit underwhelming this year, cannot say anyone stood out for me, hence the lack of commentary.

18 L’ange de Nisida | ROH – if no one produces La favourite around here, at least we got its previous incarnation.

20 Giulio Cesare | Glyndebourne – and the third time, now with the London Crew. It was a very fun (although overcast) day, and the post is half written. I swear I was so tired and a bit out of it in July that I am afraid I came off stand-offish to those who know me less, though it was by no means the case.

22 Pavol Breslik | Wigmore Hall

27 Saul | Glyndebourne – such a fun production! For some reason, a Chinook flew over the gardens. They give me the heebie-jeebies.

August

1 Pelleas et Melisande | Glyndebourne

12 L’incoronazione di Poppea | Salzburger Festspiele (Haus fur Mozart) – yes. At least nobody got clever with the musical content.

September

8 La Iole (Porpora) | Theater Oldenburg – my first live encounter with the wonderful Iervolino – and with a Porpora work in its entirety. If you are asking yourself Oldenburg what? this was part of the Bremen Music Festival 2018, which is kind enough to spread around the region instead of allowing the city to hog all the events. Another take on the Hercules/Dejanira story, this centres on the woman with whom he is cheating on her. The cosy Theater Oldenburg lavished its audience with a cast of top young singers in excellent form – Iervolino (Dejanira), Aspromonte (Iole) and Renato Dolcini (Ercole). It is a short (but fun) work but all three really got into it with much gusto and the audience loved it. I liked Aspromonte here much better than in Vivaldi.

10 Dorothea Roschmann | Wigmore Hall

14 Marianne Crebassa / Mass in B minorLöningen – also part of the Bremen Music Festival 2018. As you can see, Crebassa remains elusive to me, but the Mass in B minor is a lovely work and the choir did a good job.

19 Masterclass Sarah Connolly | Wigmore Hall – cannot tell you why I never finished this post, I was even well rested by then.

October

8 Sandrine Piau | Wigmore Hall

17 Porgy and Bess | ENO

22 Karina Gauvin | Wigmore Hall – annoyingly, I was under some rough weather in October and missed these two fine ladies due to horrible head colds.

25 Semiramide | Teatro La Fenice – back to Venice 😀 and more Iervolino! Excuse me if I simply love the woman, she is cute as button here. She also sings rather well 😉

26 Serse | Barbican

November

2 Marie-Nicole Lemieux | Wigmore Hall

19 Roberta Invernizzi | Wigmore Hall – the show that caused me to pick up a guitar (and make some noise)!

December

11 Lucy Crowe | Wigmore Hall

Glyndebourne – the lawn, 2018

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Arianna in Cretan temperatures (Halle Handel Fest, 9 June 2018)

First violin, Gauvin, Hallenberg, Emelyanychev, Aspromonte, Nesi and Hammarstrom (sorry, Wolf!).

Dear all, this month has been busier than usual and it’s only now that I get around to writing about this wonderful performance! Sorry all about the delay, it’s the madness of everything, work and fun, amping up at the same time, so I ended up running from one to the other, like a headless but musical chicken.

There are two things about Halle: it seems it’s always unbearbly hot in June (like 30C and up, plus humidity) and the Ulrichskirche is inescapable. Other than that = fabulous.

Early June is too early for London to get that hot-busy, so for me it was a bit of a shock to the system (we’ve updated ourselves to Summer heat since, especially this week). It’s now one of those memories, very akin to childhood ones, of thadieu, Agathe and I walking up the tram tracks in the scorching sun, in an effort to get to the road we needed to be on for the airbnb. I have a vague feeling we complicated our lives a bit but that’s what fun memories are made of!

We quickly took showers and then headed off for some before-the-show grub. Once again, Halle was deader than a Dodo. We speculated some but our host came to the rescue and revealed the dark secret: everyone and their cat was out at the beach. Yes, thanks to the river, there is such a thing even this deep inland. Indeed, on the way to grub we ran into people with beach bags. Apparently the locals were expecting thunder storms with their lunch but seeing as how those got postponned, people took the opportunity to roast themselves in the sun and cool themselves in the Saale river. We thought maybe next year we should make it a longer trip and avail ourselves of the beach as well.

This nice banner was nailed to the venue’s wall.

As you can imagine with this cast, there is very little more one can want musically aside from less humidity. The singers braved 30C for 4 hours, which is one of the most commendable efforts I’ve yet witnessed with my opera. And they sang well, too! I don’t know how they did it. True, water bottles were consumed throughout and there was liberal fanning – of your colleague, as well, which only made it all more congenial and down to earth (although by that I don’t mean to say singers should endure these temperatures day in, day out). The ladies singing ladies at least wore dresses, but Nesi had on a frock and Hallenberg a suit – whew!

Though everyone’s Baroque chops are superior, this was hands down Hallenberg’s show. The Energiser Bunny had nothing on her. She just merely spun really complicated arias and probably would’ve still gone on into the night, with an ease and cheerfulness that still looks amazing even after you’ve seen her several times.

Aspromonte was a bit of a revelation to me, as I hadn’t quite felt her in Vivaldi. I know everyone else praised her, but there you go. Here, though, and in a Vagaus-like trouser role at that, she sounded very good and enthusiastic, with enough energy throughout to match her experienced colleagues. It was very sweet of Hallenberg to give her a friendly push onto the stage when Aspromonte’s Alceste had to sing right after a bring-down-the-house aria by Teseo.

As Giulia noted (in her account of this performance), Arianna fits Gauvin’s voice really well (it sits at that not very high spot where her voice is at its most beautiful) and she threw in some cool and interesting ornaments in that bigger, more furious aria Arianna has (sorry if I’m not very well acquainted with the opera – most of Arianna’s arias are somewhat anguished but there is one that has kick to it).

opera goers approaching Ulrichskirche (just around that O2 corner)

This was the first time I heard Nesi and Hammarstrom live and they both lived up to their respective names. I was a bit irked when Emelyanychev, who had been thus far very accomodating to his singers (especially Gauvin, who strikes me like the kind of woman who will work out the best deal for herself 😉 which is a good thing!), all of a sudden let the horns loose on a particularly rambunctious Tauride aria.

Now the thing is, Tauride seems to have all the horn arias (which is also a good thing – we need more horn arias), so it was more than once that Nesi’s very solid low notes were swallowed by the combined efforts of the horns and Ulrichskirche acoustics. Most of us know that Nesi has one of the most reliable chest registers among mezzos, one of the very few mezzos who can sing Holofernes without sounding like the ship is sinking. So I wanted to hear those notes! Anyway, her singing was excellent and she has this sort of cool but badass aura to her that is unique.

Hammarstrom is a very different singer, rather reserved in manner and with a lyric piangency to her equally reliable chest register. Though she’s a Bradamante veteran, here she sang a girly-girl (Teseo’s ex?), who’s eventually whisked off by Alceste for the happy ending (we joked that Alceste and Carilda return for the finale after a lengthy period, in which one could only imagine what is happening).

Wolf seems to be a veteran of Halle bass(-baritone?) roles and he sounded good here too, putting some fear into Arianna (is he her dad?). I’m low on details but the gist of this particular Arianna story is she’s in trouble (with the Minotaur?) and Teseo flies to her/her people’s rescue, they fall in love, there’s some typical Baroque drama with exes and rivals but they finally get married or whatever the equivalent was in Creta back then. This story does not hint at all at what will happen in Naxos, all is Teseo ❤ Arianna here.

the plaza in front of the local opera is undergoing massive contruction. But the fountain is still functional!

Speaking of an opera that isn’t very often performed, the team made it flow seamlessly for 4 hours, which is another excellent achievement. I could quite see how without a cast, orchestra and conductor of this level it could flag. Really looking forward to hear Emelyanychev and Il Pomo d’Oro later this year, under better acoustic conditions.

About two thirds into the show thunder and lightning arrived in Halle but by the time the show ended we were actually happy for some rain. So we, joined by Giulia since intermission, ran around a bit, looking for a place to sit down and chat and possibly eat/drink something.

Now this was 11:30pm on a Sunday morning and the centre of Halle had, as far as we could see, about 2 1/2 places still open. We finally chose a shisha bar, of all things, only because it looked like it was gonna be open indefinitely and had room to sit. The bar staff were actually cool and turned off the awful music on offer, though whether that was for our benefit or because it was late I can’t tell. But I for one really appreciated the effort and we went on chatting for a good while into the night.

ps: sorry, Giulia, I said I didn’t have any pictures from the curtain call – turns out I did have this one and it somehow got lost amidst all the other 2018 opera trip ones.

a nice shady spot

Arianna in Halle with Il Pomo d’Oro and vintage cast

All I have to say right now is: amazing performance 😀 even the usual poor acoustics of the venue could not hinder it.