While hardly a rarity, Gaetano Donizetti’s comic opera L’Elisir d’Amore (The Elixir of Love) doesn’t usually rank in popularity with the likes of Aida, La Bohème or Carmen. But after a performance such as that which acted as the curtain-raiser for the Macau International Music Festival, it can be hard to understand why not. Effortlessly enjoyable, the work also contains passages of aching beauty and contains more insights into human nature than its rom-com surface would let on.
That He Hui chose to open her concert, part of a 20th career anniversary tour of China, with Adriana Lecouvreur’s first act aria from Francesco Cilèa’s eponymous opera says everything one needs to know about this Chinese soprano’s attitude towards her art.
Opera Hong Kong’s summer semi-staged performances showcase local singers; this year’s production was Wolfgang Amadeus Mozart’s Die Zauberflöte. The fact that this work is more commonly known by its English name, The Magic Flute, is an indication that it is somewhat unusual: it’s known as a “singspiel”, or “sing-play”, which, like a musical, has spoken dialogue between the singing.
The Hong Kong Ballet’s Asian premiere of Artistic Director Septime Webre’s Alice in Wonderland opens tonight with the composer Matthew Pierce conducting the City Chamber Orchestra of Hong Kong and Cuban ballerina Venus Villa dancing the lead.
Opera travels well. Its stories are the stories of our collective humanity—love, loss, revenge, strife, rebellion, rejuvenation, absurdity, tragedy—and its archetypes not only define cultures but also connect them. In many respects, we can no longer speak in essentializing ways about Western opera or Chinese opera, but rather must address the world of opera and global operatic voices.
In a ceremony today presided over by Antonello de Riu, Consul-General of Italy in Hong Kong and Macau, operatic tenor and Opera Hong Kong’s Artistic Director Warren Mok received the title of “Officer of the Order of the Star of Italy”, conferred by the Italian President Sergio Mattarella.
Norwegian soprano Margrethe Fredheim has won the inaugural Hong Kong International Operatic Singing Competition (2018) with performances of “Come scoglio” from Mozart’s Così fan tutte, “Song to the Moon” from Dvorak’s Rusalka and “Einsam in trüben Tagen” from Wagner’s Lohengrin.