Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

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):