25 May 2007
Virginia Arts Festival celebrates “Pocahontas”
Norfork - It’s America’s biggest birthday since the 1976 bicentennial celebration of the Declaration of Independence:
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
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If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
Norfork - It’s America’s biggest birthday since the 1976 bicentennial celebration of the Declaration of Independence:
the 400th anniversary of the founding of Jamestown, the first permanent English-speaking settlement in the New World. And to commemorate the landing of those 104 adventurous Englishman the Virginia Arts Festival and the Virginia Opera co-commissioned “Pocahontas,” a tribute to the young Native American woman who charmed the new arrivals. The favorite daughter of Algonquian chief Powhatan, she learned English, converted to Christianity, married Virginia colonist John Rolfe and gave birth to a son, whom both Thomas Jefferson and Robert E. Lee claimed as an ancestor. Renamed Rebecca by a clergyman who saw her as the mother of two nations, Pocahontas traveled to England, where she was presented at court and, as she prepared to return to Jamestown, died suddenly at 24 in 1817. She is buried at Gravesend, and it is there that the one-act chamber opera by composer Linda Tutas Haugen and librettist Joan Vail Thorne begins.
From there it moves back to Jamestown and the early hostile confrontation between natives and settlers. Pocahontas appears now as an adolescent, a tomboy attractive to both parties and simultaneously as a mature woman respected on both side of the Atlantic. This interplay between the young and mature character is particularly effective in underscoring her role in two cultures.
Beyond the outer facts of her brief life, little is known about the “real” Pocahontas. Contemporary accounts were — in the style of the day — elaborately embellished, and later generations — including the 1995 Disney film — have added undocumented ornamentation. And although Haugen and Thorne obviously did an immense amount of study — including on-site observation of artifacts and landscape, they have made no effort to fill in blanks. Their endeavor focuses not on linear narration, but rather on an evocation of the unusual woman that Pocahontas was. While committed to cultural accuracy, the creative team has sought not to write history, but to explore the mystery of this woman who did much to establish peace between two peoples.
And the mesmerizing quality of Haugen’s score stresses that basic questions about Pocahontas remain open. “I ask myself who I am and I do not know the answer,” she sings. “There will never be an answer; I will always be ... a question.”
Further major players in the story as told by Thorne are Pocahontas’ father and mother, husband Rolfe and John Smith, head honcho of the Jamestown adventure.
Acclaimed a success by the enthusiastic audience that packed Norfork’s Roper Performing Arts Center for the world premiere on May 19, “Pocahontas” is an opera like no other. It is a pastiche that combines song and extensive spoken dialogue in a superbly crafted score. Haugen, noted for her use of ethnic voices and instruments in previous works, went to the tribes still resident in East for motifs that she has woven into the work, the instrumentation of which calls for specially crafted Native American flutes, drums and shakers. Haugen further includes a hymn tune from Thomas Commuck’s 1845 “Indian Melodies” and — to suggest the flavor of the Elizabethan age — bits of Byrd, Gabrielli and Orlando.
With a voice decidedly her own the composer has combined all this in a 90-minute seamless score for nine instrumentalists seated on stage behind the small, near-empty space upon which the story plays. “Pocahontas” is engaging and accessible without being pabulum for the people. The music is beautiful and often powerful; Rolfe’s wooing of the heroine and her death scene elevate this enigmatic woman into the company of Violetta and Mimi. (Although they add local color, the three Native American songs delivered by a vocal/drum duo from the Haliwa-Soponi and Appomattox Tribes stand outside the score and contribute little to the story.)
Virginia Opera assembled a superb cast of young singers for this production, slated also for performance in historic Williamsburg. Sopranos Laura Choi Stuart and Dawn Zahralban were superbly matched as the mature and youthful heroine, and bass Branch Fields sang Rolfe with resonant richness. Lyric tenor Brandon Wood was a handsome and sometimes roughish Smith, and Andrew Fernando a major presence as Powhatan.
Pam Berlin directed the staging with a firm hand; Marlene Pauley conducted with authority. Choreographer Todd Rosenlieb wisely opted for stylized dance, eschewing the pow-wow that others might have found essential. Costumes by designer Michael Schweikardt were true to the period; on her first appearance Pocahontas was dressed as in the painting by Simon de Passe, her sole surviving visual image.
In making the commission Robert Cross, founding director of the Virginia Arts Festival, specified that “Pocahontas” was to be not “a kiddie opera,” but rather a “family-friendly work to which parents would enjoy taking their children.” And the reaction of the opening-night audience, among which were many kids, suggested that he got what he ordered.
Pocahontas is famous beyond her native region, and this opera deserves stagings elsewhere. Because of its modest dimensions, however, it will not have the appeal of Mark Adamo’s “Little Women” or Jake Heggie’s “End of the Affair,” two recent and widely performed chamber operas. “Pocahontas,” however, is nicely suited for academic opera programs and for studio production by major companies. Haugen’s music is wonderfully singable and ideal for voices still in the development stage.
Festival performances of the opera profited, of course, from the “you-are-there”proximity of the historical triangle Jamestown, Williamsburg and Yorktown, magnificently developed sites with an abundance of authentic documentation intelligently and tastefully displayed. Patriotism has become a discomforting concept of late; a visit to this region from which America grew is reassuring.
Footnote: Aside from its obvious roots in Jamestown “Pocahontas” is something of a Minnesota Opera. Composer Haugen holds degrees from St. Olaf and the University, where she studied with Dominic Argento. Librettist Vail has worked closely with St. Paul-based composer Stephen Paulus, and conductor Pauley, also a St. Olaf alumna, is a clarinetist in the St. Paul Chamber Orchestra, which she conducts regularly.