01 May 2007
Miami “Karenina” a dream come true
Colin Graham’s dream of an opera based on Tolstoi’s “Anna Karenina” extends far into the past.
On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.
When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.
Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.
The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.
There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.
The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.
First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.
Plus an evening by the superb Modigliani Quartet that complimented the brief (55 minutes) a cappella opera for six female voices Svadba (2013) by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada.
With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.
Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.
Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).
What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.
Colin Graham’s dream of an opera based on Tolstoi’s “Anna Karenina” extends far into the past.
In 1968 the British-born all-around man of opera began paring the novel down for his mentor Benjamin Britten. The premiere was slated for Moscow’s Bolshoi. However, when Soviet troops marched into Prague that summer, Britten was urged to abandon the project. In 1978 Graham wrote the libretto for Ian Hamilton’s “Anna Karenina,” a work that, following its premiere at English National Opera and a Los Angeles staging, has sunk into oblivion.
Graham’s dream came true only this year, when on April 28 Miami’s Florida Grand Opera staged the world premiere of “Anna Karenina,” now a close collaboration between Graham, librettist and stage director, and American composer David Carlson. It is sad, however, that Graham did not see the new opera, which is all that he might have wished for in success. Ill, but nonetheless deeply involved in the premiere, he died on Good Friday, April 6.
“Anna Karenina,” the crowning glory of the GFO’s first season in Miami’s new Ziff Ballet Opera House, is a memorial and monument to him. In 2001 FGO general director Robert M. Heur was contemplating a new work to celebrate the opening of the company’s new home in Miami’s $500 million Carnival Center for the Performing Arts.
Two years later — encouraged by Graham and FGO music director Stewart Robertson — Heuer commissioned Carlson to write “Anna Karenina.” Carlson, too, had been thinking of a “Karenina” opera since Graham had mentioned his interest at a 1993 meeting in St. Louis.
Graham, obviously very familiar with the Tolstoi by the time of the FGO commission, tailored an amazing libretto for Carlson. He has not merely condensed the 800-page book to fit a 2.5-hour score; he has distilled the essence of the novel by focusing on the two couples at its center: Anna and her lover Vronsky, and the sensitive country boy Levin and his youthful wife Kitty, once madly in love with — but rejected by — Vronsky. Concerned with character and not with history, Graham wisely overlooked Levin’s proto-socialist concern for the working class, the aspect of the novel that kept it in the Soviet canon.
The brief arias written by Graham reach to the marrow of the human experience, and Carlson has woven them into a tapestry of mesmerizing music. Before setting to work on the score, the composer went to Russia to absorb the atmosphere. He heard the bells of St. Petersburg, which echo in the opening bars of the work, and settled on the theme from the Tsarist hymn familiar from Tchaikovsky’s “1812" Overture to give a Russian color to the opera. Variations on the theme become a “Fate” motif that recurs at crucial points in the story. And to achieve the lush sonority demanded by the story he decided upon an orchestra of 19th-century dimensions, which, however, he employs with discipline. In what might be called American verismo, Carlson treats his characters with the tenderness of late Richard Strauss.
The capacity opening-night audience in the 2400-seat Ziff was spellbound by the work. For the premiere the FGO assembled an ideal cast largely of young singers who in appearance could easily be the persons they play. (Most of them will be on stage in St. Louis.) Kelly Kaduce is an elegant and aristocratic Anna; she portrays the emptiness of her marriage, her surrender to passion and consequent downfall from the heart, remaining always a woman of courage who has the sympathy of the audience. As Anna disintegrates and turns to laudanum Kaduce’s velvet voice takes on an edge of nervousness, insecurity and despair. It is a demanding role and a new triumph for this still youthful American soprano.
Konstantin Levin, the counterweight to Anna, is to a large degree a self-portrait of Tolstoi, and Brandon Jovanovich, tall, lean, blond and bearded, makes him the noblest Russian of them all. Jovanovich, a tenor with baritone heft, includes Pinkerton, Cavaradossi and Werther among his signature roles. As Levin, it is his concern for all that elevates the story from the personal to the universal. Small wonder that he recently received a Richard Tucker Award!
The opera ends not with Anna’s suicide, but with an epilogue, in which it is left to Levin to conclude with Tolstoi’s that “we must learn to know ourselves and to love each other.”
Polish-born Robert Gierlach, a baritone frequently heard as Mozart’s Figaro and Giovanni, makes Vronski’s self-centered undoing credible, while lanky bass-baritone Christian Van Horn is a touch too full-voiced and handsome to be a convincing Karenin. A pudgy nail-biter would fit the role better.
Supporting roles are well sung by Sarah Coburn (Kitty), Christine Abraham (Dolly), William Joyner (Stiva), Dorothy Byrne (Lydia) and Josepha Gayer (Betsy). Special recognition goes to veteran Rosalind Elias as Levin’s aged housekeeper Agafia. Elias made her FGO debut in 1977.
Neil Patel and Robert Perdziola, responsible — respectively — for sets and costumes — have caught the spirit of the opera remarkably with designs of stylized simplicity, yet true to Tolstoi’s time. A revolving stage is used effective for rapid changes of scene that contribute much to the continuity of the staging.
Stewart Robertson extracts sensuous sounds from the FGO orchestra, and a very able Mark Streshinsky stepped in for Colin Graham early in the rehearsal period.
In only a month this production will be on stage at the Opera Theatre of St. Louis and later at Michigan Opera, its third co-commissioner. Happily, Opera America held its annual meeting in Miami on the final April weekend, and that means that the “big brass” of opera in this country — 500 administrators — were present at the premiere of “Anna Karenina.”
One can hope that they shared the enthusiasm of the opening-night audience, who made clear that a great American opera has finally been written. In 2005, by the way, Boris Eifman used music by Tchaikovsky to create an “Anna Karenina” ballet in St. Petersburg.