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.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
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.