06 Apr 2008
San Diego Opera: Cavalleria Rusticana & Pagliacci
Opera companies often tout new productions as a major attraction of their seasons.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
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.
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.
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.
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.
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.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Opera companies often tout new productions as a major attraction of their seasons.
Somehow it had eluded your reviewer that the third program of San Diego Opera's 2008 season, the classic pairing of Mascagni's Cavalleria Rusticana and Leoncavallo's Pagliacci, would feature a new staging from director Lotfi Mansouri and designer John Coyne. In fact, only on checking the program at intermission, after the (pardon the abbreviation) Cav, did I notice the words "a new production" tucked away as the fifth bullet point of 8 under the act and intermission breakdown.
Instead, San Diego Opera had trumpeted the show as a mini-tenor festival, with the return of San Diego favorite Richard Leech in his role debut as Turiddu and the house debut of José Cura as Canio. And the company was wise to do so. Both tenors put on very good performances, though far from perfect. And the new production? Sadly, it would hardly have appeared "new" 20 years ago. At least the Cav boasted a passably attractive traditional set, although on the cramped Civic Center stage the tables of Mamma Lucia's tavern are only a couple yards from the steps to the church. The one creative touch here came after the prelude, played before a scrim of passing clouds against a blue sky. For Turiddu's sereande to Lola, a small, elevated room to the rear of the stage became illuminated, and we saw the lover leaving his married partner's bedroom. Since Cav takes its time getting started, this bit of staging actually works well to establish the drama early on. After that, every move and gesture played out pretty much as one would expect. Mansouri's predilection for the obvious revealed itself at Santuzza's entrance. Although she steps around the church and Mamma Lucia is almost immediately in front of her, Mansouri had Carter Scott look left and right, as if confused about her location.
But the direction truly went for the risible in a sort of festival procession for the Easter mass. After the passage of townfolk and some penitents (looking alarmingly like Klansmen in their white robes with red sashes), a couple of Roman centurions wheeled on a platform bearing Jesus on the cross, portrayed by a living man. We know he's living because the "Jesus" comes down off the cross, raises his arms in triumph, and enters the church, escorted by the Roman soldiers. Now research may well have established this as typical of an Italian village of the time of the opera's setting, but putting it on stage is a very different thing. The audience did a commendable job of stifling giggles.
Cav has lasted because it is nearly indestructible, and so it proved at this matinee. In his serenade Leech gave a distressing reading, unsteady and brassy. By the time he reappeared, he seemed to have settled. His big voice filled the hall, and he at least sketched in a credible portrait of a strutting small town cad who finds, as he faces his death, some compassion for the woman who has given herself to him. Turiddu is a role where the absence of a subtlety won't cripple a performance. Carter Scott's Santuzza played up the pathetic side of the character a bit too much. She came off best at the top of her range; the middle voice needs more color. Judith Christin's Mamma Lucia sounded suitably aged, and she managed to made moving the stock staging of falling on top of her son's corpse. Bruno Caproni blustered away as Alfio, a role which doesn't ask for much more. Perhaps the best singing overall came from Sarah Castle's Lola; she possess not only a very attractive voice but the acting skills to make Lola a credible character in her brief confrontation with Santuzza and Turiddu.
The always reliable conductor Edorado Müller reinforced his reputation as such. San Diego Opera boasts a fine chorus, led by Timothy Todd Simmons. Some of the wackier supertitles of a stilted translation went to the ladies of the chorus. "Cease these rural labors," they urged their male counterparts. Yea, and forthwith!
If the drably colored set for Cav hardly appeared new, it still must have taken most of the budget. The spartan Pagliacci set offered a laughably crude painted backdrop, a tree to the left, and a bare platform before a fragment of ancient wall. At least in the second half the platform was dressed up a bit and the "stage" for the comedia had some color. Fortunately the singers didn't lack for inspiration, and Mansouri's work moved to a higher level than that seen in the Cav. Elizabth Futral contrived to make Nedda entirely sympathetic, although Canio may not be all that wrong at the end when he charges her with ingratitude and a well-developed taste for "sensuality." Bruno Caproni, the Tonio, got to show more colors to his voice than he had as Alfio. His evil laugh of triumph when he leads Canio to the discovery of Nedda with her lover Silvio, however, came right out of Snidely Whiplash. Scott Hendricks cut a handsome figure as Silvio, although not much erotic charge developed between him and Futral, who sang attractively throughout. Mansouri did not give Beppe, sung by Simeon Esper, much to do other than pop out for his serenade, which went pleasantly enough.
Cura dominated the performance, with a well-defined portrayal of a still handsome man frustrated into rage by the weakening grasp he has on his wife. In the first half, all the way through "Vesti al giubba," Cura sounded in good voice, with strong projection and a solid top. He does enunciate oddly at times, and "Vesti la giubba" came out a bit like "vedi la duba." Disappointingly, the voice retreated in the second half, and the power needed for the furious climax eluded Cura. But perhaps this was all part of his act; Cura took Tonio's last line and choked it out in such an exhausted whisper that the final "e finita" could hardly be heard. But the audience loved Cura and gave him the only standing ovation of the afternoon (at least from about half the audience in orchestra).
Not a memorable afternoon at the San Diego Civic Center, but an entertaining one. Aida and The Pearlfishers remain in the 2008 season.