Best of 2010 (3): Singers

This blog is my modest opera/concerts "diary" that somehow got to be read by many and I thank you all for that.

As you may have noticed I mostly try to talk about things I like --instead of dwelling on stuff I dislike -- except, of course, when it's unavoidable (or for defining purposes). Rarely but I do sometimes trash the lazy/'untalented' directors, and my reason is quite simple: money is tight today, waste it on no-concept, no-idea, on nothing creative, or stale theater...  is irresponsible -- it harms opera, it wastes our time, and often insults our intelligence. Happily that happens very seldom as I am more experienced in picking good and interesting shows to see.

All photos in the above collage were taken by Yours Truly

With singers the story is more difficult as we are living in an era of many-many gifted performers who besides their beautiful voices and fantastic vocal techniques, also excel as actors.

I've tried to post my Best of 2010 several times and each time I felt I was unfair to many brilliant singers - especially when I'd made a too extensive list (with more than 15 names.)

Finally, after restraining my discussion to the least possible number of those who I thought delivered extraordinary stuff in 2010 (either on an operatic stage or in a concert hall), I ended up with...

Best of 2010 (2): Productions

Many fantastic new productions have been unveiled to us in 2010. To choose just a few and say 'these were the best three or four' is extremely hard. Instead I tried to isolate 5 and make a more extensive list of what I believe are memorable new productions (list is appended below.)  

On the horizon of the most exciting theaters in Europe, to me Komische Oper in Berlin remains the brightest spot as far as opera is concerned. I suspect there might be some other smaller theaters doing as good as Komische (or better?), but I don't see many theaters having that combination of audacity and desire to evolve artistically and create something new, while keeping the high musical standards. You will find other places looking richer,  maybe more prestigious, with impressive historical background, with more stars, ...  but if you are interested in seeing known operas produced differently, Komische is the place to start. Theater Basel is right there too, together with La Monnaie in Brussel, and Staatsoper in Stuttgart.

Big thanks to artistic directors of these inspiring theaters [Andreas Homoki, Dietmar Schwarz, Jossi Weiler, and Peter de Caluwe, respectively] and to all the folks who actually make these theaters live and be the way they are. 

Regarding the new opera productions in Paris, I think Opéra Comique produced a few good shows in 2010, and I did quite like the first two chapters of The Ring at Opéra Bastille but we cannot say 2010 was good. Several revivals were very well mounted, but globally we can only hope 2011 will be better. 

Best of 2010 (1): Directors and Conductors

I saw very many wonderful shows in 2010, and to me this was one of the most exciting years ever (opera-wise, of course.)

On one hand I realize how blessed we are to have more than a few great directors (creative, competent, inventive, and audacious), superb conductors, and amazing singers/actors who throw their hearts and souls into bringing the best from most of the operas on the repertoire today. Their work sometimes brought new insight in known operas, sometimes emphasized a particular thread that escaped the attention of other performing artists before --  all  that leading to a reassuring conclusion that opera is not locked dead as art, but rather an art form that still thrives on change.

Personally I can say I was 'wise' [and lucky!] in rightly picking what to see in 2010 and so --apart from some setbacks in Paris-- I truly enjoyed most of what I could see in 2010.

Now, after having seen so many great shows it is hard to come up with a Top-10 list. To compile it, I feel, I would necessarily be unfair to some singers, directors, conductors. The other day I went through a list of all wonderful male singers whose singing I thought was excellent or tickled some fine emotion and I ended up with a list of 59 names. So I'll try and focus on those whose work in 2010 I though genuinely stood out.

Best of 2009-2010: Macbeth in Brussels, Stefan Herheim, and Theater Basel -- says Opernwelt and we agree

Opernwelt magazine polled the critics from German speaking countries and published their Best of 2009-2010 list:

• Best opera production: Macbeth at La Monnaie in Bussels [dir Krzysztof Warlikowski, cond Paul Daniel] Sets & costumes: Małgorzata Szcześniak, Cast: Scott Hendricks, Iano Tamar, Carlo Colombara, Andrew Richards, Benjamin Bernheim
• Best director: Stefan Herheim for Der Rosenkavalier at Staatsoper Stuttgart
• Best Opera House: Theater Basel  and its director Dietmar Schwarz

and more...

Opera Festivals 2010: Aix does it better

And so the Summer of Opera Festivals 2010 is over. It's been good even if somewhat surprising that the most interesting things happened in July (and not in August).

General impression: There are far too many festivals. Many city mayors across Europe support the Opera Festivals financially because they are good for their (cities') image, it's a bonus for tourism, it helps creating some jobs...
I want to believe that quantity implies a few quality productions every year, although this year wasn't particularly good example (except perhaps in Aix).

I believe the (main) purpose of Opera Festivals should be to propose new stuff, to define new directions in performing and staging the well known operas, and to bring to our attention good contemporary operas as well. It's hard to counter-punch that argument without questioning the artistic purpose of Opera Festivals altogether: one may as well extend the standard operatic season and include a couple of more operas in your usual Opera Houses and pretend they were success!

I am perfectly aware that matching the artistic intentions with your financial capacities is very hard, but that's what distinguishes good from mediocre Festival directors, i.e. good from mediocre festivals.

With that in mind,  The Best Festival 2010 was undoubtedly the one in Aix-en-Province:

Best of 2010 (so far...)

Before we get completely soaked in all the wonderful Summer Opera Festivals, it's time to look back at what we've had in 2010, and to pick out the best of so many wonderful shows that I've been blessed to see this year.

Group A

It's not the end of the year so I won't make any top 10 list yet. Rather, I collect in Group-A the shows I think were the best, and in Group-B those that were excellent too, but remain in B only because A is too crowded ;)