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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

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):