NZ Opera’s “Eight Songs for a Mad King” a brilliant, Janus-faced experience
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Poulenc’s “La Vox Humaine” given a stunning performance
By Peter Mechen, 31/01/2020
As we took our seats in the confined spaces of Cuba St.’s Suite gallery, pianist Gabriela Glapska was playing the music of Satie, beautifully coalescing the sounds of the composer’s Gymnopedies, the dance figurations wrought by the pianist almost as “held” as if depicted on a Grecian urn and the tones as “imagined” as they were real - “heard melodies are sweet, but…..” – here, time seemed to be... read more
Helen Moulder and Sir Jon Trimmer warmly invite all of us to “meet Karpovsky” at Wellington’s Circa Theatre
By Peter Mechen, 06/11/2019
I thought, both for myself and for the readers of “Middle C”, I’d explore the colourful genesis of Circa’s current production “Meeting Karpovsky”, as it was something I for one knew very little about, having not seen the original 2002 production. It all came about through actress Helen Moulder wanting to bring to fruition a long-held desire to be able to dance with Sir Jon Trimmer, the doyen of... read more
Enthralling and disturbing – NZ Opera’s take on Britten’s “The Turn of the Screw”
By Peter Mechen, 03/10/2019
It’s difficult to think of another opera whose overall theme, story-line and characterisations are more interlaced by ambiguities as Britten’s The Turn of the Screw – the story on which the opera is based, Henry James’ novella of the same name, carries its own versions of much the same kinds of imponderables, though the opera seems, if anything, to further complicate and intensify the issues. The story tells of... read more
Intense, heartfelt and involving – Verdi’s Rigoletto from Eternity Opera at the Hannah Playhouse
By Peter Mechen, 23/08/2019
I can’t think of a better instance of a small opera company bringing forth by dint of its own efforts a production with the commitment and calibre of Eternity Opera’s production of “Rigoletto”, which we saw at Wellington’s Hannah Playhouse on Friday evening. I won’t go as far as proclaiming this “the best so far” of the company’s productions in this venue, as comparisons of that sort are odious... read more
Two out of three from Puccini’s Il Trittico boldly and confidently presented by the NZSM
By Peter Mechen, 19/07/2019
When Giacomo Puccini first penned his Il Trittico (Triptych), consisting of three short operas designed to fill a single evening (premiered as such in New York in December 1918), various considerations combined to elevate the third of these works, the rollickingly comic Gianni Schicchi, to pride of place in the public’s affections, leaving the other two, the violent, bloody Il Tabarro (The Cloak) and the somewhat sanctimonious Suor Angelica... read more
A joyful, exhilarating Barber of Seville, New Zealand Opera’s first offering of the year
By Steven Sedley, 29/06/2019
Colourful, joyful, exhilarating are the words to describe this production of the Barber of Seville. From the very beginning of the Overture, taken at a moderate steady tempo that let every phrase be clearly articulated, we know that we are in for a treat. When the action starts with the chorus, the serenaders, horsing around it is clear that this will be an entertaining show. Almaviva, John Tessier enters... read more
A triumphant culmination of Pinchgut Opera’s work in Sydney: Hasse’s Artaserse
By Lindis Taylor, 05/12/2018
Though exposure to pre-Mozart opera, even of Gluck, has been infrequent in New Zealand, a great deal of 17th and 18th century opera has become main-stream in the Northern Hemisphere. There is hardly a composer of that period, acclaimed in his (or her) lifetime and then forgotten for 200 years, whose music has not been brushed off in recent years and played in a way that echoes the way... read more
Eternity Opera sings triumphantly once again at Wellington’s Hannah Playhouse – Puccini’s Madam Butterfly
By Peter Mechen, 16/11/2018
Eternity Opera’s presentation at Wellington‘s Hannah Playhouse of one of the most famous of all grand operas, Giacomo Puccini’s Madama Butterfly, used a reduced orchestral accompaniment, a “rhyming” English translation of the Italian, and cut one of the more colourful episodes in the work’s Second Act, albeit involving the brief appearance of a “lesser”character. And yet, despite these diminutions of the original, the piece worked its usual theatrical and... read more
Puccini’s La Boheme in Wellington – ineffably human and heartfelt
By Peter Mechen, 04/10/2018
It may seem a strange entry point for a review’s beginning - but at the opening night of New Zealand Opera’s 2018 season of “La Boheme” in the Wellington Opera House on Thursday last, there was for me, near the Second Act’s conclusion, a “great moment”, whose incredible lyrical surge and explosion of sheer theatrical energy seemed at once to overshadow and enhance the significance of everything that had... read more
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