Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Plácido Domingo as Macbeth, LA Opera

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.

The Rake’s Progress: an Opera for Our Time

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.

Classical Opera: Haydn's La canterina

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.

Dream of the Red Chamber in San Francisco

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.

San Diego Opera Opens with Recital by Piotr Beczala

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.

Andrea Chénier at San Francisco Opera

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).

A rousing I due Foscari at the Concertgebouw

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.

A double dose of Don Quixote at the Wigmore Hall

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: A double bill of divine comedies

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.

Mahler’s Second, Concertgebouw

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.

Mad About San Jose’s Lucia

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.

ROH, Norma

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.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

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.

Der Freischütz at Unter den Linden

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.

Prom 74: Verdi's Requiem

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.

British Youth Opera: English Eccentrics

“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.”

Prom 68: a wonderful Semiramide

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.

Double Bill by Oper am Rhein

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.

Prom 60: Bach and Bruckner

Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim…) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.

OPERA TODAY ARCHIVES »

Performances

Pictured: Don Marco (Philip Cokorinos) with Annina (Christina Martos) as she takes the veil in Central City Opera’s The Saint of Bleecker Street. Photo by Mark Kiryluk
27 Aug 2007

Menotti’s “Saint” wears a dim halo

CENTRAL CITY, Colo. — A year ago, when the Central City Opera announced plans to conclude its 2007 75th anniversary season with Gian Carlo Menotti’s “Saint of Bleecker Street,” the composer was aged but alive.

Above: Don Marco (Philip Cokorinos) with Annina (Christina Martos) as she takes the veil in Central City Opera’s The Saint of Bleecker Street.
Photo by Mark Kiryluk

 

His death at 95 on February 1 made the CCO staging both an act of homage and an object of special interest to opera goers. It was thus the conversation piece of this celebratory season. And although CCO general and artistic director Pelham (“Pat”) Pearce admitted that at first examination of the 1954 score he was “underwhelmed,” the company went overboard to mount a production that seemed designed to revive interest in Menotti and perhaps correct the view offered in a July Opera News obituary by Barry Singer that he was “the most prolific, widely performed and widely disdained” composer in all of opera.

On the heels of her 2005 directorial debut with “Madama Butterfly” the CCO brought veteran soprano Catherine Malfitano back to Colorado to stage “Saint.” Annina, the ill and visionary orphan whose story the opera tells, had played a significant part in the soprano’s career. When she sang the role at Wolf Trap in 1973, Julius Rudel, chief of New York City Opera, was in the audience and engaged her to sing Annina with that company the following season. The production was seen on public television when it was revived in 1978. (Malfitano, by the way, made her professional debut in a CCO “Falstaff” in 1972.) Thus the summer production was an act of faith for Malfitano, who further came up with the concept for handsome sets, effectively realized by Wilson Chin.

Yet even Malfitano’s belief in “Saint” could not triumph over the feeling that the opera is justifiably absent from the repertory today. Indeed, this was clearly a case, in which the staging was superior to the work, upon which the company lavished such affection. “Saint” got off to a magnificent start. Ill and orphaned Annina, sumptuously sung by a convincingly adolescent Christina Martos, was an engaging study in a faith so absolute that it led to stigmata, to the wounds of Christ bleeding in her. On the other hand, her brother Michele, a macho product of New York’s Little Italy as portrayed by Derek Taylor, was ridden by doubt. The two, it is generally agreed, are metaphors for two sides of Menotti’s own tormented soul.

The composer’s verismo and his choral writing are up there with Puccini, and the power of the first act elevated expectations. Things paled, however, and melodrama took over with Michele’s murder of girl friend Desideria, passionately sung by Kirstin Chávez. The sub-plot won the upper hand, as Menotti inched towards liturgy in the remainder of the work. Annina died as she took the veil, something her fugitive brother tried to prevent, and, while the virtual on-stage canonization of the young woman might have wowed the Sunday-school set, it left the unchurched waiting for the curtain to fall.

“Saint” ended up being too much, rather than too little, and doubters were disturbed by the ease with which Menotti was content to let the mighty final chorus obscure the question of what happens to murderer-on-the lamb Michele. Might the composer have done better to delete the murder and develop the incest motif so obviously present in the sibling relationship? And although Menotti is certainly right in questioning the mob that would exploit Annina, this perspective of the plot is obscured by his post-Puccini choruses.

“Saint” is a dark work, in which Menotti, his own librettist, stirs in the complex depths of the soul, but fails to put his findings together convincingly. The resolution - Annina almost sprouts angelic wings on stage - is contrived; the audience is browbeaten by the sheer power of Menotti’s music, but left without answers to the essential questions involved. Indeed, the best - and most moving - music heard at the CCO on the July 21 opening night was Samuel Barber’s Adagio for Strings, played by an octet from the pit orchestra in an outdoor courtyard as a memorial to Menotti.

In the brief work Barber, first a fellow student at Curtis, then Menotti’s long-time companion, wrote music of amazing clarity and cleanliness - quite the opposite of Menotti’s overwrought score that followed on stage. “Saint” brought Menotti his second Pulitzer (the first was awarded for “Amahl and the Night Visitors” in 1951), yet the Central City staging makes clear why the work is so seldom encountered today. The CCO has further staged Menotti’s “Amelia Goes to the Ball” with Eleanor Steber in 1951 and “The Medium” in 1979.

A personal recollection:

Italian-born and Curtis-educated Menotti was his own man in opera. He wrote for Broadway during decades in which academic atonality dominated serious music and in “Amahl” written for television, he created what remains today the most-performed American opera. The world owes him much as a composer also active as a director and architect of the Spoleto Festival, first in Italy and then in Charleston, South Carolina. We were hardly buddies, yet for several years Gian Carlo Menotti was a presence in my life, and I - in a modest way - in his.

It was one of those right-place, right-time scenarios that have enriched my life. For many years I wrote a weekly column for a major newspaper chain. This gave me “visibility,” and musical organizations were eager to be the subject of my articles. A special fruit of this chapter of my life was a close and warm association with Spoleto USA, the American “half” of the Festival of Two Worlds, founded by Menotti in Italy in 1956 and then “imported” to Charleston, S.C. 11 years later.

During the decade before his somewhat operatic departure from Charleston, I interviewed Menotti by phone each spring about the up-coming season - he was usually then at home in his Scottish castle, where Prince Charles and the late Queen Mum were frequent guests. And in the first days of the season, which begins the last week in May, Menotti invited the critics present to breakfast in the garden of Charleston Place Hotel, his home in the city.

Not content to be only Spoleto’s founder and artistic director Menotti further made his mark by directing Mozart’s “Figaro” and Wagner’s “Parsifal” during my years at the festival. And he laid weight on being a man-about-town, cropping up suddenly in the midst of performances in the many historic venues used by the program. And I often encountered him “off stage” at the lavish late-night parties staged in the gardens of the well-maintained mansions on Charleston’s historic peninsula.

He radiated charm and charisma and - thanks largely to daily swim sessions - on his 80th birthday he could easily have been taken for 65.Yet Menotti was a difficult person who - in Charleston at least - became his own worst enemy. As the years piled up, the question of administrative succession at Spoleto grew pressing and it was complicated by Menotti’s insistence that his adopted son Francis follow him as artistic director of the festival both in Charleston and in Italy.

Those who had long supported Spoleto in Charleston felt that Francis, a difficult person, was not the man for the job. During negotiations often confrontational and even hostile Menotti threatened to move the American festival elsewhere - Savannah, just down the coast, was mentioned as a new site. And when Menotti finally did depart from Charleston he insisted for a time that the name “Spoleto” was his personal property.

Happily, Spoleto USA has done very well without Menotti, while word from Italy indicates that son Francis is no great success there. My life was made richer through my association with Menotti, with whom I had little contact following the death of his American press agent shortly after he left Charleston. It was sad indeed that things ended in that wonderful, historic city as they did, but it was clear that the time had come for Menotti to go. Nonetheless, today Spoleto USA, the country’s top all-arts festival, is a major monument to Menotti; even if his many operas are not often performed, he was an active presence on the art scene of the world for over half a century.

Wes Blomster

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):