Recently in Performances
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough
and his own experience, his own imagination, his own sympathy
will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
‘Lovers and madmen have such seething brains,/ Such shaping fantasies,
that apprehend/ More than cool reason ever comprehends.’
Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon
which to draw: she has power and also precision; her top is bright and glinting
and it is complemented by a surprisingly full and rich lower register; she can
charm with a flowing lyrical line, but is also willing to take musical risks to
convey emotion and embody character.
‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.
Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.
It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).
Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.
Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.
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.]