03 Mar 2008
Los Angeles Opera: March 1 & 2, 2008
James Conlon has become the artistic heart and soul of Los Angeles Opera in his second season as music director.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
James Conlon has become the artistic heart and soul of Los Angeles Opera in his second season as music director.
He almost unfailingly appears at the pre-lecture of every opera he conducts, to speak with keen intelligence and insight about the particular opera and its composer. As a conductor, although he may not have the most distinctive interpretative profile, he has the LAO orchestra unfailingly play for him with passion and precision.
For years Conlon has cherished a dream of staging some of the works of those composers whose careers - and often, lives - were devastated by the Nazi regime. Last season, the "Recovered Voices" series began with a concert of excerpts from several of these composers, as well as a semi-staged performance of Alexander Zemlinsky's A Florentine Tragedy. For 2007/08, LAO scheduled four performances of a double-bill: Viktor Ullman's The Broken Jug, a comic piece that runs for under 40 minutes, and Zemlinsky's The Dwarf, an adaptation of an Oscar Wilde short story. The third of four performances took place Saturday, March 1st.
The program notes highlight the tragic irony that Ullman wrote the comic The Broken Jug in a concentration camp, not too long before his death. At the pre-lecture Conlon's interviewer tried to suggest a deeper theme of the corruption of power in the story of a judge who turns out to be the culprit in the case of the shattered family heirloom of the title. The judge seems to have basically planned a sexual assault on a beautiful young girl, only fleeing the scene (and in the process breaking the jug and losing his powdered wig) when her burly fiance showed up. Although Ullman's music bubbles cheerfully, very little that is actually amusing occurs, and the story plays out like a pale copy of Chaucer. James Johnson tried to ham it up as the Judge; there just wasn't much for him to work with. In fact, the show was at its best in a clever dumbshow played out in silhouette during the overture.
At 80 minutes, Zemlinsky's The Dwarf would not have made for a full evening in a temporal sense, but artistically, it more than compensates for its relative brevity. Wilde's story echoes elements of his Salome. A beautiful, spoiled princess, accustomed to getting what she wants, ends up destroying the object she claims to cherish above any other. Instead of being crushed by the shields of Roman soldiers, the Princess of The Dwarf walks callously away from the body of the broken-hearted dwarf, a birthday gift from a Sultan. The dwarf has made it through life deluding himself about his misshapen appearance, believing the reflection he has caught glimpses of to be that of an evil nemesis. When the princess cruelly provides him with a mirror that denies him the refuge of his delusion, the dwarf, who has fallen in love with the princess, collapses in horror.
Ralph Funicello's gorgeous set stacked a tiered outer ring of gray and green marble, with gold gilt highlights, around a lower center platform. Staging the appearance of the dwarf makes for a tricky challenge for the director. For quite a while, Darko Tresnjak kept Rodrick Dixon, a man of typical tenor stature, crouched in the silver crate that serves as his gift box. Eventually Dixon emerges, but by then he has established his character through his singing, and the other performers can takes their places on the higher levels of the tiers surrounding the lower center stage. Zemlinky's incredibly rich, imaginative scoring sometimes proved too heavy in texture for Dixon, especially when the singing line dropped into his weaker low range. But Dixon's top notes were solid and powerful, and as an actor he surmounted the role's challenge of blending the audience's predisposition for sympathy toward the character with the sharp depiction of the dwarf's warped self-perception. Simply put, Dixon triumphed.
Mary Dunleavy sang with the appropriately bright, superficial beauty of her role: a shallow, pretty princess. As her favorite maid, Susan B. Anthony etched a strong character in just a few moments, a woman who knows the defects of her mistress and sees the tragedy coming, while being helpless to prevent it. The audience rewarded her performance with a very warm reception at final curtain. But the biggest hand went to Conlon, who appeared not from the wings but from the rear of the set, a choice that highlighted his "starring" role in the show. Though not melodically memorable, Zemlinsky's score meets every challenge of the drama, with orchestral color and drama. One acts are notoriously difficult to program, but Zemlinky's The Dwarf surely should be staged more often. Though it would make for a longish evening, a pairing with Straass's Salome would surely make an amazing evening.
The next afternoon Conlon returned to conduct Verdi and Boito's Otello, using a Johan Engels staging borrowed from Monte Carlo and Parma, directed by John Cox. Conlon started the storm music with brash volume, and unfortunately, no subtlety followed in the performance that followed. Engels's set suggests the bowl-shaped floor of a ship, with two concrete culverts on either side for entrances and exits. The basic set gets dressed up for each scene change but remained static and uncommunicative, though not without a decorative visual appeal.
Anyone who has seen video clips of Ian Storey in the recent La Scala Tristan und Isolde, under the direction of Patrice Chereau, knows that the man can be an potent actor, although his capable vocal instrument lacks any interesting colors. However, Cox did not find a way to bring out Storey's best. A large man, Storey never seemed imposing, and from the beginning his Otello proved to be no match for Mark Delavan's malevolent, brutal Iago. Even Cristina Gallardo-Domas, a couple feet shorter than Storey, had more presence. The resulting imbalance drained much drama from the afternoon, with that deadly "going through the motions" feeling settling in. Despite some impressive notes here and there, Storey could not deliver with consistency. While effective as an actress, Gallardo-Domas's voice too easily slipped into a dismaying vibrato. Delavan powered his way through Iago's music, effectively if unsubtly.
In a program note, Conlon writes that "despite all the possible dramatic misadventures or vocal inadequacies, [Otello] cannot fail because it is so perfectly conceived..." So if this LAO Otello cannot be called a failure by those terms, at least it has to be called a disappointment.
But The Dwarf made the weekend at the Dorothy Chandler worthwhile. In next year's Recovered Voices program, Conlon conducts Walter Braunfel's The Birds. Anticipation builds from this moment.