Recently in Performances
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
03 Jun 2007
Arizona Opera's Susannah — A Naive Story Dilutes an Impressive Production
Arizona Opera ended its 2006/07 season with a tightly-knit, well-tuned presentation of Carlisle Floyd's Susannah, his best known opera that has enjoyed numerous productions since its New York City Opera debut in 1956.
The work is based on the Biblical account of Susannah and her Elders from the Book of Daniel, as it appears in certain Bibles. From that account we learn the Elders, who steadfastly lust after Susannah, spy on her while she is bathing and soon realize that the young beauty will never give in to their lascivious advances, so they accuse her of fornicating with a young man. This charge is eventually proven false, and Susannah is saved from death. Floyd, using a librettist's poetic license, simplified the storyline by relocating the bathing Susannah to an isolated community called New Hope Valley in the Appalachian Mountains of Tennessee. There, she is observed by her own church Elders who are repelled by her audacity to bath in a small stream which is supposed to be used for baptism.
Obviously Floyd felt very comfortable with this regional setting which is reminiscent of his own upbringing as a minister's son and uses what he thought was a natural reaction by folks who live in such a stark rural setting to Susannah's spontaneous and frivolous behavior. Even in the 1950s, in the United States, with the McCarthy witchhunters combing the country looking for those with perhaps the slightest connection to the Communist Party, Floyd's characters might have appeared a tad too quick to condemn what was perceived as Susannah's immoral conduct and now, over 50 years later, with all the dramatic and diverse social changes that have occurred in American life, the pivotal situation of the plot does seem too pat.
Any opera company that wants to mount Floyd's opera has to get beyond this flaw so that it can present the work's many dramatic and musical moments in a coherent and forceful light. And Arizona Opera did just that.
Perhaps the outstanding contribution to the production was Paula Williams's direction. The director used Peter Dean Beck's spacious and accurate setting of rural life in Tennessee to great advantage. She moved the chorus about the stage with ease, whether they represented the townspeople at an evening gathering of song and square dancing or had them as church goers pleading to the Lord to save them from the wages of sin. She gave the audience the feeling that it was watching the entire New Hope Valley community acting as one against the sinner Susannah. The director also helped to transmit the same dramatic intent to the featured and principal players, allowing them to build their portrayals with vocal stamina and security.
Starting with the smaller roles, the mezzo, Korby Myrick gave her Mrs. McLean the appropriate disapproval of Susannah's public bathing. Glenn Alamilla's tenor rang out as Susannah's ambivalent suitor, never failing to express his fear of the unknown. Moving up to Robert Breault as Sam Polk, Susannah's brother, he filled his character with the right amounts of love and affection mixed with his anxiety for Susannah's future. He resolved his conflict by shooting the Reverend Olin Blitch, Susannah's seducer in the last scene. And most times, Gustav Andreassen as the Reverend Blitch forcefully conveyed his staunch alliance with the Lord. The bass was most impressive in his sorrowful and guilt-ridden monologue on having violated Susannah.
The role of Susannah was the only part that was double cast. Fortunately for Arizona Opera, it found two sopranos who could provide this difficult and challenging part with the right emotional impact when needed. Rhoslyn Jones, a physically stronger Susannah than Diane Alexander was a tad uneven vocally, but her forceful sound portrayed her commitment to the role. Alexander projected a softer emotional approach, but was more consistent in showing how Susannah's misery unfolded. It was a credit to both singers and to Williams how well the rest of the cast never missed a dramatic beat no matter what Susannah was on stage.
Conductor Joel Revzen kept his orchestra committed to Floyd's overriding musical idiom: that of using many parlando melodies underscored by Appalachian ballads, gospel tunes and square dance music. At times, he drove the orchestra too hard, allowing the musical climaxes that expressed Susannah's rage or Blitch's stabs at redemption-to take two examples- to eclipse the singers' vocal prowess that gave unerring testimony to their talents. This tendency, which made it difficult to catch all the nuances in the colloquial text the composer reveled in, kept the audience's eyes glued to the titles, causing it to graze by some of the opera's most intense dramatic moments. But overall, it didn't detract from the performance which was one of the company's most fruitful and fulfilling productions in recent memory.
Nick del Vecchio
[Reprinted from Living at the Opera with permission of the author.]