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

In Parenthesis, Welsh National Opera in London

‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.

Die Walküre, Opera North

A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.

Early Gluck arias at the Wigmore Hall

If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.

Das Rheingold, Opera North

Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

OPERA TODAY ARCHIVES »

Performances

Santa Fe Opera: Carmen
09 Aug 2006

SANTA FE OPERA: Golden Oldies

Carmen and The Magic Flute have finally made it onto my calendar, a nice way to end the summer opera festival at Santa Fe.

Both shows badly needed a better viewing here, for over the last decade or more each has been ill served, either by bad singing, poor productions or both. Not so Season 2006.

The appearance of Anne Sophie von Otter as Carmen is said to have derived from Santa Fe Music Director Alan Gilbert’s friendship with her in Sweden where, during the winter season, he is music director of the Royal Stockholm Philharmonic. We should have more conductors with such resources! Von Otter was immediately tagged “a thinking man’s Carmen” by local cognoscenti – a good description. She is entirely into the role; she’s in charge of it and presents it for its musicality and not its sluttish tossing about; of that there was none. Von Otter’s Carmen was single minded – she wanted what she wanted, period. She was calm and self-assured; she looked well but not extravagant or deranged. The tall slim mezzo could simply stand still and smile, show her eyes, and her thoughts were immediately clear. Best of all, von Otter sang with the crystalline precision and expressiveness of a fine lieder singer, or in this case a singer of mélodies. The voice was always easy, well-supported and colorful; her diction precise, and even quietly spoken dialogue was heard. This Carmen was good humored and had fun – right up to the final scene. Who could ask for anything more? Well, one thing, a return engagement.

The other chief interest of the August 1 performance, was the role assumption by Laurent Naouri, Paris-born baritone appearing as Escamillo with easy assurance and authority, in his American debut. Naouri had everything needed: the right age, a trim build, a well produced bass-baritone that moved evenly through the scale, and plentiful masculine charm. Needless to say, his language was idiomatic, his singing with von Otter of the Act IV duet was a meeting of high professional equals – thrillingly so. Naouri sang the Toreador song freshly and without manner; for once, the right approach! Carmen has been waiting for a Toreador of this caliber.

The balance of the cast was of lesser stripe and I wont dwell on it, except two young smugglers, Remendado and Dancaire, sung by Keith Jameson and David Giuliano, respectively, both excellent and deserve recognition. The production was agreeable in a mild sort of way, the naturalistic stage direction by Lars Rudolfsson. Action was updated to Spain of the 1960s, which did nothing special for the grand old piece, but at the same time did no harm. If Franco’s fascism were just around the corner, I never saw it. The smugglers’ mountain pass became a transportation staging area filled with freight containers in process of unloading – not illogical. But it counted for little. Frankly, I’ve seen Carmen played on an empty stage and it was fine. It’s that kind of well-stocked operatic masterpiece. Some in the audience wanted more gypsies and more color; I was so content with the fine singing and music making, little else mattered.

The Santa Fe Opera orchestra is playing better this season than I have heard them, and August 1 was no exception. Alan Gilbert’s tempos were mainly just (one or two spots dragged), and he had good ideas about clarity and balance. This is a Carmen for Santa Fe to repeat.

The good news does not stop there: The Magic Flute, sung in German, spoken in modernized English, returned for the first time since 1998 in an innovative and charming new production by Tim Albury. Mozart’s thrice-familiar tunes and set pieces are hard to keep fresh, but the one true way to do so, is to play them honestly and with confident musicality; here honors must go to music director William Lacey, who has conducted at Houston, Utah and his native England. He was the spark plug of this Flute, which he kept brisk and clear as a cup of tea (lemon, please).

He was much assisted by Tim Albury’s clean natural direction and an innovative production concept the hallmarks of which were simplicity and elegance. Magical props and refreshingly dynamic lighting (by Jennifer Tipton who has worked well before at Santa Fe with Albury), graced an always-lively and engaging show. I’ll not give away the stage events, but the audience was at one point applauding the scenery, unusual at Santa Fe. Tobias Hoheisel’s visual designs were another strong element of this Flute’s success.

Added to all this excellence, Santa Fe assembled a cast of splendid equals to sing and play Mozart’s near-vaudeville entertainment: Toby Spence and Natalie Dessay as the young lovers, fresh and lyric and enjoying themselves; Andrea Silvestrelli’s full mellow basso and his kindly avuncular persona graced Sarastro; Heather Buck was a spot-on Queen of the Night (who reentered the action on Sarastro’s arm at the every end – a novel if controversial touch); young baritone Joshua Hopkins won hearts with his winsomely comic Papageno, the snarly Monostatos of the engaging David Cangelosi whose bark was worse than his bite – these and many others in the large cast betokened quality casting throughout.

Some voice aficionados wondered how California soprano Heather Buck could manage to sing Queen of the Night’s great vengeance aria with Natalie Dessay standing near her on the same stage, Dessay having been a reigning Queen of the Night only a few years ago? The answer: Buck sang confidently, brilliantly – the singers’ juxtaposition, with the slender young-looking Dessay as her daughter Pamina, lending a certain frisson to the occasion. It is always nice to play from strength, and this Magic Flute had it!

©2006 J. A. Van Sant
Santa Fe, New Mexico

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):