The Best of 2010
Best of 2010: Henry Purcell’s Dido and Aeneas, the Boston Early Music Festival Chamber Opera Production(Comments Off on Best of 2010: Henry Purcell’s Dido and Aeneas, the Boston Early Music Festival Chamber Opera Production)
This is the third year of BEMF’s wonderful new institution of annual chamber opera performances. These not only help us get through the alternate years, when there is no main festival in June, nor any full opera production, they set a standard for authenticity and for the imaginative recreation of centuries-old practices and aesthetics in such a way that an audience of cultivated non-experts can enjoy the performance and walk away exhilarated. This was certainly the mood in late November last year, when BEMF turned to Purcell’s Dido and Aeneas. None of the other chamber operas produced so far is particularly obscure — not John Blow’s Venus and Adonis, nor Charpentier’s Actéon, nor Handel’s Acis and Galatea. On the contrary, they are central to the history of the genre, and they are performed, although not very often. This year’s offering, Purcell’s Dido and Aeneas, is the most popular pre-Mozart opera of all. It fills the needs of conservatories, young sopranos or mezzos, as well as ageing divas, who wish to apply their wisdom to the tragic Queen of Carthage. We have reviewed a number of modest, but very successful productions in the Review over the past year or so.
Mélisse is now celebrating its tenth anniversary. At its location only a few hundred yards from the Santa Monica Pier, it has the feeling of a neighborhood institution, but not the honky-tonk neighborhood of Ye Olde King’s Head and similar establishments along Santa Monica Boulevard and the beach — rather Brentwood and Beverly Hills, to which it is directly linked on its corner of Wilshire Boulevard. Since its beginnings, its founder, Chef Josiah Citrin and his staff have earned it two Michelin stars. The dining rooms have also been renovated into their present elegant and extremely soothing state only a few years ago.
Mozart’s Idomeneo with Sir Roger Norrington and the Scottish Chamber Orchestra at the Edinburgh International Festival
Certainly one of the happiest events in the expansion of the classical repertoire in the later twentieth century has been the discovery of Mozart’s first operatic masterpiece, Idomeneo, rè di Creta. Often I think it may be my favorite…until I really start thinking seriously about Don Giovanni and Le Nozze di Figaro, but I can say that I feel a special passion for Idomeneo. When one reads about the conductors who have brought it into its still admittedly somewhat intermittent place in the repertory of major opera houses — first among whom is Sir Colin Davis, their passion for the work is always in the foreground. The opera itself is passionate. Mozart clearly responded strongly to the libretto, and this passion is infectious.
Capo di tutti capi. If you must have a gang invade your turf, let it be a gang of scintillating Russian conductors. The UK is in that enviable position – for some reason the Russians haven’t made real inroads in America – and Valery Gergiev in particular has London at his feet. All but the critics, that is. They are grumpy about Gergiev, and admittedly he is a grandstander. His first concert this summer was a program of almost amusing arrogance as he led the World Orchestra for Peace in the Mahler Fourth and Fifth symphonies. One knew in advance that it would be too much of a glorious thing. The mega-wattage of the orchestra, which draws its roster from the great orchestras of the world (even the back bench violins are first and second desk players at home) insured an evening of thrills. This ad hoc ensemble premiered in 1995, the brain child of Sir Georg Solti, who wanted it to symbolize harmony among all peoples. High-flown sentiments, but on the rare occasions when the World Orchestra assembles, with Gergiev now at the head, even the citizens of Berlin and Vienna have to take notice. This is orchestral playing of sizzling virtuosity.
More in this category
- Arthur Miller’s All My Sons at the Apollo Theatre
- Beowulf, sung and recited by Benjamin Bagby at Tanglewood
- Elephants Begone! – Bach’s Cello Suites Deconstructed and Reconstructed – Pieter Wispelwey at Tanglewood
- Ödön von Horváth’s Judgment Day, at Bard College’s Summerscape