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

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.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Performances

William Bolcom
04 Dec 2007

Bolcom’s ”View” brilliant at WNO

The American Dream and the tragic vision of ancient Greece are miles and millennia apart; yet they merge seamlessly in William Bolcom’s “View from the Bridge,” on stage in November at the Washington National Opera.

Above: William Bolcom
© 2006 Katryn Conlin for VocalEssence

 

The mythic dimension, of course, was already there in Arthur Miller’s 1957 drama, a true-to-life story, in which the author detected “some re-enactment of Greek myth that was ringing a long-buried bell in my subconscious mind.” In the play Bolcom too sensed the mythic horizon behind life in the New York Sicilian community of which Eddie Carbone had long been a pillar. And working with Miller and long-time collaborator Arnold Weinstein to “translate” the drama into opera the composer amplified the mythic resonance of the story by adding a chorus that functions as it did in classic tragedy: it comments on — rather than taking part in — the events at hand.

Commissioned by and premiered at the Chicago Lyric Opera in 1999, “View” moved — with the addition of two arias to the score — to the Metropolitan Opera in 2002 . And this third staging of the original production — directed by Frank Galati with sets and costumes by Santo Loquasto — by a major company confirms that this is indeed an American classic.

Three singers in the WNO cast who created their roles in Chicago and then repeated them at the Met contribute greatly to the WNO success: Kim Josephson as stevedore Eddie Carbone, Catherine Malfitano as his wife Beatrice and Gregory Turay as relative Rodolfo newly-arrived from Italy.

It is a coincidence perhaps that this trio returns to “View” for a third time. Yet their presence in the cast speaks of a commitment to the work that came across clearly in the performance at Washington’s Kennedy Center on November 14. It is, of course, Malfitano, now looking back on an international career spanning three decades, who amazes. The dramatic power and the beauty of her voice remain undiminished. Her delivery of “When am I gonna be a wife again?” — one of the added arias — expresses the pain she feels as she watches her husband’s growing obsession with her orphaned niece, portrayed with all the innocence of the ‘50s by Christine Brandes.

This illicit passion that turns this account of life in a community still committed to an Old-World code of honor into tragedy defines Eddie as the central figure in “View,” and Josephson has fully mastered the complexity of the role. He violates this code first in his passion for his niece and then in reporting his wife’s illegal immigrant relatives in to authorities. But of far greater consequence is the kiss that he gives his rival Rodolfo.

It is a violation of a taboo that determines the outcome of the drama. What makes the scene doubly compelling is that up to this moment Eddie was not consciously aware of the sexual attraction that Rodolfo held for him.

This kiss, comparable in its force to that embrace in the Garden of Gethsemane, is at the very heart of “View,” and Bolcom has set it with a master’s hand. Backed by the black-white bleakness of the photographs projected on the rear of the stage, it reaches beyond the story as a violation of such dimensions that it demands action from the gods. Indeed, in its impact, it stands beside Hagen’s murder of Siegfried in Wagner’s “Götterdämmerung.” It is one of the great moments in opera.

An outstanding member of the supporting cast is Richard Bernstein as illegal immigrant — “submarine” — Bruno. Bass Bernstein, one of America’s most agile singers, is superb in everything he does, yet he remains among the unsung truly significant voices of his generation. And he makes “A Ship Called Hunger,” the finest and most overpowering aria in the score, a show stopper. Indeed, the bitterly sorrowful line “I do not understand you, America!” is the supreme vocal moment in the opera.

Also impressive is veteran bass John Del Carlo as Lawyer Alfieri, a man intimately familiar with the characters in the drama, but at the same time an objective observer who leads the chorus that Bolcom has integrated so effectively into the score. And tenor Turay brings bel canto brilliance to Bolcom’s recasting of the hit song “Paper Doll” as a Pucciniesque aria.

John DeMain, now in the senior ranks of American conductors, gives full power to Bolcom’s score with the WNO orchestra. Amy Hutchison directed this re-staging of the Chicago production.

“View from the Bridge” tells a story as poignant as it is bleak of what opera scholar Thomas May describes as “an era that combined lingering innocence with suspiciousness, unjaded faith in the American dream with a shield of cynicism.” Arthur Miller was a major spokesman of that age; with this opera William Bolcom lays bare its emotional heart.

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):