Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

Handel's first 'Israelite oratorio': Esther at the London Handel Festival

It’s sometimes suggested that it was the simultaneous decline of the popularity of Italian opera seria among Georgian audiences and, in consequence, of the fortunes of Handel’s Royal Academy King’s Theatre, that led the composer to turn his hand to oratorio in English, the genre which would endear him to the hearts of the nation.

OPERA TODAY ARCHIVES »

Performances

Frank Loesser
21 Mar 2006

City Opera’s Production of The Most Happy Fella

The New York City Opera opened its spring 2006 season with a new production of Frank Loesser’s The Most Happy Fella, which premiered on Broadway fifty years ago in 1956.

The question of whether Fella is a musical or an opera has long been discussed: while it was premiered as a Broadway production (and revived there in 1979), in many ways the score is more complex than your average musical, indeed, more complex than even Loesser’s other hit musicals, including his beloved Guys and Dolls. Fella director Philip McKinley chose to reinstate two of Marie’s arias that had been cut from the 1956 production, a decision lauded by Loesser’s widow and advocate Jo Sullivan Loesser. The added character development and emotional content that was the result of this decision—not to mention the greater length of the production—certainly supports the arguments on the “opera” side of the debate.

In the end, though Fella offers all the best of Braodway musicals: rousing ensembles, sentimental love songs, and big, exciting dance pieces. Especially appealing about Fella is the way that Loesser, who wrote both the music and the book, interweaves dialogue and singing without any awkwardness; the words do not take a backseat to the music at any point during Fella, which keeps the drama moving.

At its heart, Fella—like most musicals—is a love story: it is a tale of how an older Italian immigrant living in the Napa Valley (Tony) falls in love with and seduces a young waitress from San Francisco (Rosabella—her real name is Amy, but no one calls her that). Tony and his Rosabella fall in love twice—once through a pen pal correspondence and once after they had been married already. Like all love stories, the lovers have to work through a number of obstacles, and this pair has more than their fair share. As the show unfolds they conquer the wide gap in their ages, a case of mistaken identity, a near fatal car accident, the machinations of Tony’s spinster sister, and the fallout from a one-night affair, which includes an unplanned-for pregnancy as well as hurt feelings.

The media leading up to the production focused on the highly anticipated performance of Paul Sorvino as Tony. Sorvino is a well-known actor with extensive film and television credits, and a Tony nominee for his performance in That Championship Season. Much the media buzz focused on whether Sorvino really can sing, and he shows in Fella that he certainly can. Additionally, Sorvino seduced his audience with his sweet portrayal of a sometimes bumbling bachelor, and he elicited much laughter from the audience with his impeccable timing in delivering lines. It is a role that could easily be cloying—Tony is just such a nice, lovable guy—but Sorvino creates the character so adeptly that one can understand why he is so adored by all the other characters. Any nervousness that Tommasini may have noticed in his review of the premier had vanished by the middle of the run.
The entire cast was energetic and appealing, but none more so in my opinion than Leah Hocking who played a relatively minor role as Rosabella’s co-worker and friend Cleo. Hocking was a delight to watch every time she came on stage, and her confidence and charisma started the production off on the right foot in the comical solo “Ooh! My Feet!” She also lit up the large ensemble and dance number “Big D,” and provided much needed comic relief throughout the second act with her beau Herman, played by John Scherer.

The sets, designed by Michael Anania for a 1991 production, were delightful with their rich colors and a homey feel in all the Napa Valley scenes. The stage was further brightened by the fun and costumes by Ann Hould Ward, which looked especially charming in the big dances scenes. Peggy Hickey was responsible for choreography that worked particularly well in the faster, more exuberant pieces; she also includes a more balletic number in the second act, which is beautiful, but slows down the story without providing much drama or interest—a rare moment in this delightful recreation of a classic.

New York City Opera’s Most Happy Fella continues through this weekend, the final show is March 25.

Megan Jenkins
The Graduate Center – CUNY

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):