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

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

OPERA TODAY ARCHIVES »

Performances

Karita Mattila (Photo by: Robert Millard )
01 Oct 2007

JANÁČEK: Jenůfa

Across the country from Los Angeles, the Metropolitan Opera has opened its 2007-08 season with big stars (Netrebko, Alagna, Dessay, Giordani) in juicy, melodic operas by Donizetti and Gounod.

Leoš Janáček: Jenůfa
Los Angeles Opera, 30 September 2007

Above: Karita Mattila (Photo by: Robert Millard)

 

But at the Dorothy Chandler, the Los Angeles Opera chose to commence their season with two unquestionable masterpieces of darker colors, less likely to be thought of as “crowd-pleasers.” Beethoven’s Fidelio premiered first, with a stunning cast of relatively new names (Anja Kampe and Klaus Florian Vogt).

On September 27th Janáček’s Jenůfa opened, with the great and glorious Karita Mattila in the lead. Seen at the second performance on Sunday, 30 September, Oliver Tambosi’s now well-traveled production provided a reliable if not exactly memorable staging for a high-powered musical success. Music Director James Conlon appeared again at the pre-lecture (as is very much his wont), to speak with revivalist passion about the merits of Janacek’s opera, now over a century old and yet still not quite beloved enough to make such urgent declarations of merit unnecessary. But as Conlon said, once the audience is in the house for a performance, the opera makes its own case, and better than any speaker can.

Sunday’s performance certainly won over the matinee crowd. At intermission some members spoke admiringly about the dramatic vocals, while wondering about the significance of Tambosi’s core concept: a boulder breaking through the ground in act one, crowding the stage in act two, and broken into rocks and stones for the final act. As the beautiful Jenůfa hides in her step-mother’s house, scarred by her frustrated admirer Laca and recovering from the delivery of the child she produced with the handsome scoundrel Števa, she cries out that she feels as if a stone is crushing her. Apparently that one line provided for Tambosi his entry into the heart of the drama, but when the boulder becomes the primary visual reference, the literal depiction of the metaphor reduces the complexity of the drama, rather than supporting it. The tension of act two, at any rate, certainly does not benefit from giving some of the less serious members of the audience the temptation to giggle, as characters feel their way around the huge boulder in their living room.

But the roar of adulation that greeted the singers and conductor Conlon at the end of the afternoon proved that even the questionable qualities of Tambosi’s setting could not lessen the impact of this performance. Mattila owns the title role, and she remains in her glorious prime. An athletic performer, she could subtly suggest Jenůfa’s youth just through her posture, while incautiously throwing herself around the stage in the dynamic second act. Then in the third, after her almost hysterical outburst at the discovery of the body of her child (murdered by her step-mother in a desperate bid to save her stepdaughter from a shamed and lonely life), Mattila projected a wise and loving forgiveness, even standing stock still. Her singing approached the flawless, with only one high climax finding her reaching up a bit tentatively. Tambosi’s set does have the virtue of high walls, intersecting at the rear, which projects the voices out into the huge space of the Dorothy Chandler. Mattila had the power when she needed it, and could pull back into shades of detail as needed. She is, quite simply, an astounding artist.

As the step-mother Kostelnička, Eva Urbanová came through where it mattered most, in the powerhouse histrionics of act two. Not the actress that Mattila is, Urbanová nevertheless has the sort of edgy, penetrating vocal production perfect for the role, and her commitment helped make the audience understand both the cruel reasoning behind her decision to kill her stepchild and the ability of Jenůfa to forgive her.

The plain but honest quality of Kim Begley’s voice perfectly suits the character of Laca, as does his masculine appearance, which contrasts well with the boyish but callow handsomeness of Jorma Silvasti’s Števa. Silvasti was a late replacement for the young tenor Joseph Kaiser, who took a prime assignment at the Metropolitan. Perhaps this change was just as well, as the trip of Mattila, Begley, and Silvasti made a convincing assembly of peers, all of approximately the same age and all well experienced in their roles.

The LAO orchestra has not played a Janáček score for well over a decade, and Conlon has some more work to do to make the players fully comfortable with the spiky idiom of the composer. With Conlon’s impassioned leadership, Sunday’s performance still had all the power needed, especially for the heart-tugging lyrical outburst at the climax. Act one, however, felt a bit tentative.

So after two very successful productions of Fidelio and this Jenůfa, LAO will return to the tried and true with productions of Don Giovanni and Puccini’s ubiquitous Bohemians, under other conductors. Conlon returns in the 2008 half of the season, with Tristan und Isolde, Otello, and this season’s edition of Conlon’s “Recovered Voices” series, a double-bill of Zemlinsky and Ullman one-acts. All in all, LAO can’t compete with the Met for star-power or technical innovation, but when it comes down to the actual performance, the company may never have been better.

Chris Mullins

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):