2016 in retrospect — The Bard Music Festival: Giacomo Puccini and his World(Comments Off on 2016 in retrospect — The Bard Music Festival: Giacomo Puccini and his World)
If advance gossip is any indicator, this year’s Bard Festival, devoted to Giacomo Puccini and his World, was one of the most controversial. “Puccini! Controversial!” You say, “There’s not really enough in him to have a controversy about, is there? Those sappy tear-jerkers speak for themselves.” In fact there was a lot of grumbling. Some festival regulars stayed away, or dragged themselves to only one concert, the one that included pieces by Dallapiccola, Pizzetti, and Petrassi. Even with these absentees the Festival sold out, or came close to selling out. Most of the concerts and the panel discussions were packed.
Openings: Boston Musica Viva plays Boulez, Marteau sans maître, and Nelsons and the BSO present Richard Strauss, Der Rosenkavalier
One hoped and expected there would be performances of Pierre Boulez pieces in Boston this season to honor this great musician who died last winter. The Berlin Philharmonic, hardly a local group, will play one piece on its visit here in November. I don’t see anything else on the horizon. So, many thanks to Boston Musica Viva, our fine contemporary music ensemble now in its 48th year, for opening its season with Boulez’s perhaps most significant work, Le Marteau sans maître (The Hammer without a Master, 1954-57).
The Boston Lyric Opera has left its long-time, unsatisfactory home in Boston’s Shubert Theater. This season each production will be mounted in a different space, and the Boston Globe reports that BLO has joined some other local theatrical groups to bid for ongoing use of the fine Colonial Theater (now owned by Emerson College) when it is restored and reopens in a year or so—seems an outcome to be wished for. Meanwhile, BLO has started its current season with Bizet’s Carmen in the Opera House on Washington Street, once home to Sarah Caldwell’s highly creative Opera Company of Boston, in recent years home of the Boston Ballet and site of a never-ending stream of very popular traveling Broadway musical productions. The Opera House is a grand space with good acoustics, a broad stage, sizeable orchestra pit, and adequate lobby space on two levels. It is good to see and hear opera staged here once again.
Musically, this summer in the Berkshires, there was one event that was truly exciting, in the sense of something important that was entirely new…or almost, as the people behind it made entirely clear. Several weeks ago I had the pleasure of interviewing the two impressive and engaging founders of the Berkshire Opera Festival, Jonathon Loy and Brian Garman, who promised to “bring fully-staged opera back to the Berkshires.” And this they have just fulfilled with a production of Puccini’s Madama Butterfly, that was in a way as perfect as an opera performance can get, considering that opera is the quintessence of imperfection among art forms—or perhaps that should be said of art itself. Musical and theatrical ability that was both solid and brilliant, imagination, good taste, and deep knowledge and understanding of the work and its authors flowed together with all the concentration and energy aroused by a new, make-or-break enterprise to create a performance that can only be described as an object lesson in how to perform opera—and a thrilling and moving one newcomers, casual opera-goers, and opera-makers alike can appreciate. The Berkshire Opera Festival has, within less than a week, made itself indispensible.
More in this category
- Race and Slavery in Mozart Operas: A Letter to the New York Times by Ralph P. Locke
- The Berkshire Opera Festival: an Important New Cultural Resource to Make its Debut in Late August. Its Co-Founders, Jonathon Loy and Brian Garman Tell Michael Miller All About It.
- The Bard Music Festival and SummerScape Opera 2016: Puccini and his World, with Pietro Mascagni’s Iris
- The Year that Was: Boston Classical Music in 2015