The Opera Tattler
Reviews of Performances and their Audiences
Category: Alice Coote
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* Notes *David McVicar’s production of Giulio Cesare (Act III pictured left, photograph by Marty Sohl) had a fourth performance at the Metropolitan Opera last night. Having attended no less than six performances of the Met’s previous production, it was nice to see that McVicar’s offering is much less staid. The shifts in costumes must…
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* Notes * The cast for Lyric Opera of Chicago's Hercules is nothing short of impressive. The Thursday matinée performance seemed well-attended, even the lecture from director Peter Sellars was rather full. Sellars certainly expressed a strong conception for how he staged this oratorio, and has both respect and understanding for the work. However, sometimes…
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* Notes * The San Francisco Opera's penultimate performance of Werther this season was held yesterday evening. From balcony standing room, the balances between the singers and the orchestra were better. Emmanuel Villaume did keep the orchestra together, the sound was gleaming and rich. The chorus of children was also lovely. It was apparent that…
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* Notes * Werther, in a brand new production, opened yesterday evening at San Francisco Opera. The set, designed by Louis Désiré, involves a rather large platform with a grove of telephone poles meant to be trees, lots of stairs, a mountain of luggage, and a creepy basement downstage where Werther lives. Periodically one of…
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* Notes * The opening performance of Idomeneo at San Francisco Opera started off a bit shaky, but did hit its stride by the second act. John Copley's 1999 production has a very similar look to his Ariodante seen at the War Memorial earlier this year. Certainly this is no surprise, as the productions…
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Dieter Kaegi's production of Der Rosenkavalier was revived in Seattle last month. I remember seeing posters for the 1997 performances, in which Angelika Kirchschlager sang the role of Octavian. Alice Coote made her Seattle debut in the role this time around, and her voice was strong. She is petite next to Carol Vaness, but had…
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A production of Händel's Alcina from Stuttgart opened yesterday at San Francisco Opera. It garnered enthusiastic and cheerful (perhaps that was just me) booing at the end when the production designer, Anna Viebrock, came out for her curtain call. What a self-indulgent, pretentious, inaccessible staging! It wasn't so much the modern dress, or the little…
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