Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
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.
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.
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.
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.
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.
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).
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.
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’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.
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.
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.
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.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
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.
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
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.
“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.”
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.
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.
26 Sep 2007
Margaret Garner at NYCO
The New York City Opera’s production of Richard Danielpour’s and Toni Morrison’s opera, Margaret Garner, boldly faces the ugly history of slavery in the United States, and the racism inherent in the institution of opera.
It is difficult to criticize a work that is so optimistic in its
scope, and indeed, one that is the collaborative effort of two giants in
their fields such as Richard Danielpour and Toni Morrison are. And yet,
despite the ovations from the audience (especially for Morrison), despite the
excitement generated by opening night at the City Opera, the opera felt a
little flat. This is in part attributable to the one-dimensional nature of
the characters in Margaret Garner: without exception they are either
wholly good or wholly evil. Librettist Morrison and composer Danielpour fell
into a trap of creating Margaret and her husband Robert as something like
Margaret Garner attempts to address the historical figure of
Margaret Garner in a dignified and meaningful way—as is only to be expected
of Nobel Prize-winning Morrison. However, Danielpour, not unlike Puccini,
uses musical references in irrelevant and anachronistic ways. For example,
during the opera one hears (frequently) references in the orchestra’s music
to jazz and ragtime; and when the black (and black-faced) chorus sings they
evoke gospel music that you might hear pouring out of the Baptist churches in
the South today. He has used familiar sounds to make his audience tap their
feet and he weaves beautiful and jazzy melodies to tug at our heartstrings.
Some critics have referred to Danielpour’s “Leonard-Bernstein-like”
musical style, but his attempts are not as successful as Bernstein’s
dizzying combinations of styles, and the result is that Margaret
Garner is less effective as a dramatic opera than it could be.
Additionally, in his imitation of black American musics, Danielpour has
orientalized Margaret and her family, rather than presenting them in more
complicated musical language, which of course, Danielpour is capable of
composing. Like Madame Butterfly, Margaret and Robert become simplified,
overdrawn characters; they are held up as infallible in their love for one
another and for their children, and they are made into saints and martyrs. By
making Margaret a saint instead of a desperate human, Danielpour and Morrison
do not do justice to the facts of Margaret Garner’s life, which, when
examined on their own shed light on a slice of American history, even without
One problem with creating saints out of real peoples’ lives is that
though we can argue that this Margaret Garner of their creation—kind,
loving, intelligent, and beautiful—did not deserve her fate, the opera does
not make a strong stand about slavery in general. An opera that would truly
look our history of slavery in the eye must protest the enslavement of even
those people who were less virtuous than this Margaret; those who were not
good parents or faithful lovers; those who may have been somehow complicit
with the system of slavery in which they were raised. The house slave who may
have enjoyed her status or the transplanted husband who was not faithful
cannot measure up to the standard set by this martyred Margaret Garner. To be
truly “anti-slavery” we must recognize that even slaves who stole, who
abused the little power they had, who abandoned their lovers, or who were in
other ways unable to measure up to Danielpour and Morrison’s standard were
deserving of basic human rights of freedom and self-determination.
In another, more practical way, Margaret Garner strikes a blow
against the institutional racism that plagues opera houses. We need only look
at the hiring practices of the Metropolitan Opera (or the New York City Opera
or any other major US or European opera house) to see that while men and
women of color are often hired to sing roles designated as characters that
are black, Hispanic or Asian, they are rarely hired to perform roles that are
understood to be white characters; and furthermore, that white people are
sometimes hired to sing roles that are designated as black, Hispanic, or
Asian characters (think, for example on the famous singers who perform
Otello, Monostatos, Madame Butterfly). For more thoughtful writing on hiring
practices of the Met, see Wallace Cheatham’s article “Black Male Singers
at the Metropolitan Opera” in The Black Perspective in Music 16/1
(Spring 1988): 3 – 20; which is almost as relevant today as it was twenty
years ago. (Over his career Cheatham has also written about black women
singers in opera.) Margaret Garner, in its subject matter and casting,
perforce must address some of these issues. Three of the four NYCO debut
artists in this cast are not white. In choosing to have both black and white
characters in this opera about America’s history with slavery, it seems
that Danielpour and Morrison have created new roles for black singers, roles
that may help these singers further the careers of the artists who perform
them, if they can avoid being typecast.
Tracie Luck thrilled the audience at the NYCO premiere of Margaret
Garner, not only with her acting skills, but also with her beautiful
voice and some surprising low notes. Other newcomers Lisa Daltrius as Cilla
and and Gregg Baker as Robert Garner were also very talented and warmly
received. Another notable performance was given by Maureen McKay who seemed
to embody the perky and radical Caroline Gaines, daughter of the slave owner
Edward Gaines (performed by NYCO debut artist Timothy Mix).
The set designed by Donald Eastman was functional; it did not distract
from the action on the stage. This production offers the director the
difficulty of having to stage five deaths—two of which are hangings. The
first murder—that of the villainous overseer played by Joel Sorensen by
Robert Garner—involved some very convincing stage acting by the two
performers. Neither the hanging of Robert Garner or of Margaret Garner was
pulled off very well. The scene that should have been at the heart of the
opera—the one in which Margaret stabs her own children to death was
convincingly acted, but musically and otherwise undramatic. Any of the angst
that the real Margaret must have felt was glossed over briefly in one of the
shortest scenes of the opera.
Although this opera was disappointing, one cannot help but feel it is in
part because Margaret Garner is bearing so much social
responsibility on its own. Few other operas tackle such huge and relevant
issues. Perhaps if this opera were not one of so few that address race
relations in the United States, then we as audience members would not have to
scrutinize the message or the presentation so closely. If this were one of
many approaches to healing the wounds that slavery has left in our country,
then Margaret Garner would not have such a heavy burden to bear.
Megan Jenkins © 2007