Recently in Performances
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals
of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public
imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius
he lamented and revered in equal measure, and against whom he schemed and
plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal
family’s fateful dependency on and submission to the deathly power of the
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
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.]