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

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

OPERA TODAY ARCHIVES »

Performances

Donnie Ray Albert as Simone and Tatiana Pavlovskaya as Bianca in Alexander Zemlinsky's Eine florentinische Tragödie (A Florentine Tragedy) Photo by: Robert Millard
13 Mar 2007

LA Opera “Recovered Voices”

Just about halfway though his first season as music director of Los Angeles Opera, James Conlon has already made himself an endearing and appreciated figure.

Above: Donnie Ray Albert as Simone and Tatiana Pavlovskaya as Bianca in Alexander Zemlinsky's Eine florentinische Tragödie (A Florentine Tragedy)
Photo by: Robert Millard

 

He likes to speak to early-comers to the Dorothy Chandler as part of the “lecture” events, and his work with the orchestra so far, and their response to him, indicates a solid relationship being established.

He has also brought with him a passion for the music of a particular set of the composers who were exiled, banned, or killed by the Nazi regime. He expressed his happiness at having Brecht and Weill’s Mahagonny as part of this season, and he also helped find the support (primarily from Marilyn Ziering and the Ziering Family Foundation) for two concert evenings called “Recovered Voices.” At the second performance, March 10th, he appeared before both halves of the program to speak with enthusiasm and erudition about the composers and their works. The evening, it seems, is a preview of repertoire that Conlon intends to bring to the regular LAO season schedule. In fact, next season he makes a start, with a double-bill evening of Zemlinsky’s Der Zwerg and Ullman’s Der Zerbrochene Krug.

The first half consisted of a sort of suite that Conlon devised from the music of six composers. The conductor asked the audience to hold its applause until the end of the final segment, and they dutifully did so. First came the dark swirl of textures in Franz Schreker’s prelude to Die Gezeichneten. Somewhat ironically, this opera recently appeared on DVD in a performance conducted by Kent Nagano, Conlon’s predecessor at LAO.

Stacy Tappan, a soprano who has specialized in high-lying roles so far (she sang the Dew Fairy in LAO’s recent Hansel und Gretel), appeared first on the bare stage, with a screen for projections behind her. Maiko Nezu designed the tasteful images that evoked the moods if not always the settings of the various selections. Ms. Tappan sang a charming aria from Walter Braunfels’ Die Vogel, left and then reappeared with a pianist (uncredited in the program) for a number from Ernest Krenek’s Jonny spielt auf. A huge hit in its day, even in this short excerpt one could hear why the opera has become a curiosity today - the jazz elements not very well incorporated into a timidly modernistic fabric.

Donnie Ray Albert (the father in that same Hansel und Gretel) sang “The Emperor’s farewell” from Viktor Ullamn’s The Emperor of Atlantis. Out of context, the aria still managed to create a mood of wistful resignation, an amazing achievement for a man writing in a concentration camp, and too soon to die there.

Tenor Roderick Dixon took on an aria from Erwin Schulhoff’s Flammen, a discursive affair that gave a more prominent role to orchestral texture rather than to the vocal line.

All of this music boasted to one degree or another a power and sweep to the orchestration, but rather less in the way of memorable thematic material. That cannot be said of the final segment, from Erich Korngold’s Die tote Stadt. Unlike the other operas represented, Korngold’s has managed to keep a precarious hold on a place on the fringes of the standard repertory. It helps that the opera features two smashing arias. First Tatiana Pavlovskaya sang “Marietta’s lied,” with Mr. Dixon joining her. Although her top grew a little wild, Ms. Pavlovskaya had the warm sensuality needed for Korngold’s exquisite tune. Then the fine baritone Martin Gantner, currently singing Wolfram in the new Tannhäuser at LAO, sang a poignant “Pierrot’s Tanzlied.”

After intermission came a one-act opera from Alexander Zemlinsky, with only minimal direction for the singers and a few chairs as props, while the projections became a bit more literal in an attempt to convey the essence of Oscar Wilde’s A Florentine Tragedy. Speaking before the audience, Conlon detailed Zemlinsky’s unhappy love affair with Gustav Mahler’s future wife Alma, and suggested that Zemlinsky at least took that pain as a form of creative inspiration. Basically a psychological battle of wills between a gruff merchant and a young nobleman over the merchant’s wife, the piece ends with the sort of “twist” which smacks a bit too much of a Freudian-era Twilight Zone episode. Never short on drama and formal invention, the score would probably be better known if it had more memorable melodies. And that was true of most of the evening’s fare. Albert, Pavlovskaya, and Anthony Dean Griffey as the nobleman had to work against the minimal staging and the story’s claustrophobic nature, and all managed to deserve the audience’s respect for their efforts.

Much of this repertory was written in the first third of the last century, and in an opera world eager for fresh material, it seems unlikely that an undiscovered masterpiece lies among the works of these composers. The works must stand on their own, regardless of the tragic fate of their composers. Conlon’s passion, however, makes him a brilliant advocate, and Los Angeles Opera audiences will at least know that a steady diet of Traviata and Bohème will be interspersed with the dark, sometimes acerbic work of these composers over the coming seasons.

Chris Mullins

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):