Best of 2022: OperaWire’s Staff on the Best Performances of the Year
This is an article created by OperaWire staff in December 2022. It includes my thoughts on my favorite operatic performance of 2022 and the thoughts of other contributors. Other notes are copyrighted by OperaWire and their respective owners.
It’s that time of the year. A time when we can look forward to what’s to come, but also a moment to reflect on all we’ve experienced. And as has become the tradition here at OperaWire, we have asked our writers to select their choices for the opera performances that truly marveled them in 2022.
So without further ado, we’ll let them do the reflecting. Enjoy!
Polina Lyapustina — Boris Godunov (Teatro alla Scala)
Despite all the ambiguity of the choice of the opera for Prima della Scala and the obvious politicization of the event, the early version of Boris Godunov presented by Riccardo Chailly in a new — darker staging by Kasper Holten is a true masterpiece.
When I was writing an editorial reflecting on this event, I could barely keep myself from showering in compliments on the striking dramaturgy and witty directing, showing a deep understanding of both the historical context and current situation. Perfectly complemented by thoughtful scenery, lighting, and costumes, it was an ideal realization to keep the audience involved and fascinated by this grave story for hours.
But certainly, it wasn’t just that. It was Riccardo Chailly who led the orchestra with passion but kept the tempo slow and smooth, letting us taste every shade of the grief. It was the choristers, showing such perfect diction, that one surely understand and feel through every word.
And it was the cast. Ildar Abrazakov performed the role with outstanding musicianship switching the focus to Godunov’s inner world and showing the wide range of emotions in this rich bass in every part of the range. Ain Anger on the opposite showed incredible range constancy, and yet, with his dark and grave bass, he took us through all the twists of the history of Russia in the XVI century.
Suffering became a keyword of this interpretation. The darkest opera for the darkest times. And yet, the extraordinary work of the artists created a performance as grave as beautiful and enlightening, the one I would gladly suffer to see again.
