Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

William Burden (Tom Rakewell) [Photo by Terrence McCarthy]
28 Nov 2007

Thanksgiving in San Francisco

San Francisco Opera makes it possible for opera-lovers who have stuffed themselves with turkey on the fourth Thursday of November to indulge in a feast of opera on the following three days.

William Burden as Tom Rakewell in The Rake's Progress, San Francisco Opera
Photo by Terrence McCarthy

 

This year, the three productions from Friday through the Sunday matinee featured productions new to San Francisco. The Rake’s Progress premiered on Friday the 23rd, while the Saturday the 24th Macbeth came in the middle of its run. The weekend ended with a sold-out Sunday matinee of La Rondine, in its penultimate performance.

David Gockley seems intent to marry at least some of the envelope-pushing excitement Pamela Rosenberg tried to bring to SFO to a more star-centered, audience-pleasing approach. What he may find is that even the world’s best marriage counselor can’t help this coupling.

The War Memorial clearly did not sell out for the premiere of Igor Stravinsky’s score to W. H. Auden and Chester Kallman’s libretto of The Rake’s Progress. An opera arguably more respected than loved, even the presence of audience favorite James Morris as Nick Shadow couldn’t fill every seat. Director Robert Lepage apparently flipped through a volume on the history of cinema, found a photo of James Dean in costume for Giant on the wide plains of Texas, and decided, “There’s my concept”! At any rate, such a picture found its way to the cover of the San Francisco program. The spare production has some showy, humorous effects, such as a heart-shaped bed into which the errant Tom Rakewell (William Burden) and Mother Goose (Catherine Cook) fall, which then swallows them and sinks into the stage as they canoodle. Later a silver balloon pops up from a similar crack in the stage, inflating until it becomes a tacky mobile home. In Lepage’s vision, once Tom has left Texas, he is seduced by Hollywood glamour, with Nick Shadow at one point in the role of film director. Following that schema, the last scene perhaps should have taken place in a ritzy Malibu rehab clinic, but Lepage simply has it in an all-white hospital ward. After the color and drive of the earlier scenes, the evening slowly deflates, but getting some emotional impact out of the brilliant but cold creation of Stravinsky, Auden, and Kallman would be a challenge for any director.

Morris sang with professional authority, but never for one moment suggested evil. Laura Aiken caught the essence of Anne Truelove’s naive innocence, even though it’s possible to imagine a sweeter tone. As Baba the Turk, Denyce Graves nearly stole the show, dipping easily into the vocal pool of dark colors while also slipping into an on-stage pool at one point, looking quite glamorous in a ‘50s-style one-piece bathing suit (with beard accessory).

But ultimately the evening belonged to William Burden, an American lyric whose name doesn’t seem to come up often when discussing star tenors of the day. He can be counted on for solid projection of a pleasing, though slightly anonymous, tone, and he is that creature both applauded and derided on today’s opera stage: an attractive, fit performer who can really act. Why some would prefer an out-of-shape singer who stands and barks is beyond your reviewer.

Donald Runnicles led the SFO orchestra in the performance one would expect: detailed, dynamic, and urgent. It’s good to know that even when he has relinquished his title as music director, he will return to the War Memorial.

From various reports, the premiere of David Poutney’s production of Verdi's Macbeth met with strong disapproval, except for its star lead, Thomas Hampson. Hampson appears in a DVD of this production of Verdi’s opera, from Zurich some five years ago. Apparently the opening night audience thought Pamela Rosenberg had gained possession of Gockley. By the fourth performance on November 24th, things seemed to have jelled. Pountney wants the audience to feel truly weirded out by the Scottish tragedy, and probably correctly feels that a traditional approach can no longer achieve the appropriate spooky effect. Here the castle takes the form of a rotating cube with a mirrored interior, emphasizing the cramped psyches of the Lord and Lady Macbeth as they murderously pursue their expansive ambitions. The weird sisters are truly weird, a spectrum of feminine archetypes from grande dames and grandmothers to hula-hooping teenyboppers and stern matrons, all dressed in various shades of red. At the banquet that Banquo’s ghost crashes, for once we do not have to deal with a crudely made-up Banquo wandering around the stage to little effect. Hampson is more than actor enough to make us believe he sees the ghost, while Pountney has him pawing through dirt-strewn dining tables (the dirt of the grave?).

Understandably, for some in the audience, this constant flow of ideas becomes sensory over-kill, especially if one is hesitant to engage with the director, perhaps feeling it is more the director’s duty to engage the audience. Nonetheless, it is doubtful that many who see this production will be forgetting it very soon.

Georgina Lukács, by many reports, had a difficult time at the premiere. On Saturday her Lady Macbeth did seem tentative in her opening aria, perhaps understandably since she sang it from the top of the cube/castle, with a safety rope around her waist clearly in evidence. The voice is wild and unruly, but by the middle of the performance her fiery temperament and commanding high notes, especially in ensembles, had most of the audience on her side. Raymond Aceto’s Banquo and Alfred Portilla’s Macduff paled, in contrast to Lukács’s exciting risk-taking, but in the small role of Malcolm, Noah Stewart made a strong impression.

Hampson showed what star power - and fine artistry - is all about. His voice rang out with authority, and though he tended to tower over the other performers, he still manged to create a portrayal of a big man trapped in a small, frightened psyche. Conductor Massimo Zanetti, in a house debut, provided strong support for the singers, with the ballet music energetic.

But the SFO audiences were ready for dessert after the Stravinsky and Pountney’s Verdi, and they applauded the lush sets of Puccini’s La Rondine almost as happily as they did Angela Gheorghiu’s star turn. Director Nicolas Joël and set designer Ezio Frigerio had the budget for a towering set of marble colonnades; almost every scene resembled the lobby of a four-star hotel with a tacky Egyptian theme. This had little to do with Puccini’s lightweight faux-operetta, but it looked great.

Is there any other Puccini opera where the lead soprano makes a less imposing entrance? Magda is simply hanging around the parlor as the curtain rises, and in Franca Squarciapino’s costumes, which looked both expensive and unappealing, Angela Gheorghiu couldn’t make her star presence felt until she opened her mouth. But that did the trick. No matter what publicity she generates, Miss Gheorghiu has built her career on very fine singing. She doesn’t have the largest voice, but she could be heard well enough in the cavernous space of the War Memorial, and she even rang out with nice power in the wonderful ensembles of act two. Ultimately, La Rondine is a dissatisfying opera, and Puccini’s music for the third act is probably the weakest of his career, as he can no longer sustain the illusion that the story or characters inspire him. Such is Miss Gheorghiu’s artistry, she makes the opera seem worth staging, if just as a showcase for her talent.

As Ruggero, Misha Didyk came across as more at ease than he had as Puccini’s Des Grieux opposite Karita Mattila last season. He really has neither beauty of tone nor raw power, but with Puccini tenors in short supply, he can at least get through the music in representable fashion. Anna Christy and Gerard Powers both delighted as Rondine’s equivalent to Musetta and Marcello, a second couple to contrast with the love story of the opera’s main pair. Ion Marin, apparently a favorite of Miss Gheorghiu, scaled the orchestral performance beautifully to her needs.

As Gockley’s reign proceeds, it will be interesting to see if he continues to risk the audience’s disapproval with productions such as Pountney’s Macbeth. His challenge is finding enough stars in today’s current opera scene of the stature of Miss Gheorghiu (or Hampson). Rosenberg never seemed interested in walking the fine line between tradition and innovation. Mr. Gockley may have to be forgiven a stumble or two, but the three productions reviewed here, from the edgy to the elegant, actually are to Gockley’s credit.

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):