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

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):