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

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.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

OPERA TODAY ARCHIVES »

Performances

23 Apr 2008

Sarasota rises above the regional

Victor DeRenzi is a man of convictions — and of courage. Given his commitment to tradition, you might call DeRenzi, artistic director of Sarasota Opera since 1982, conservative.

Sarasota Opera 2008

Above: Benjamin Warschawski as Jacopo Foscari
Photo by Richard Termine courtesy of Sarasota Opera

 

These, however, are concepts given new dimensions by the four operas on stage this spring in Sarasota’s newly remodeled 1200-seat theater.

DeRenzi is no friend of Regieoper, the approach to opera that gives the director full freedom to ignore the original time and place of a work — and the intentions of the composer. At Sarasota Opera, for example,you will never see Handel’s “Julius Caesar” set at the Cairo Hilton,where Peter Sellars once located it to great acclaim. That does not mean,however, that DeRenzi is a man stuck in an bygone age. His concern is for fidelity to opera and for authenticity and integrity in SO stagings.

Much research and study go into each production to make it reflect its time in history. Every effort is made to offer an honest presentation of a composer intentions. All this came to the fore in the season’s “I due Foscari,” which was part of two major SO projects. It continued the Verdi cycle designed to perform the composer’s entire oeuvre — operatic, vocal and instrumental — in Sarasota.

Launched in 1989 by DeRenzi, a Verdi scholar in his off hours, the cycle includes alternate of versions of scores when they exist. It will conclude in2013 to celebrate the 200th anniversary of the composer’s birth.“Foscari” is also part of DeRenzi’s “Masterworks Revival Series,” which brings to the SO stage long-neglected works that the director considers of artist merit. The series, begun in 1989, has included such rarities on the American stage as Catalani’s “La Wally,” “Königskinder” by Humperdinck and Rimsky-Korsakov’s “May Night.”

Given the quality of the SO “Foscari,” directed by Martha Collins, the neglect of the 1844 score is difficult to understand. The opera, the well-focused and touchingly sad story of a wronged father and son, is without the complexities that often make Verdi’s plot line hard to follow. With DeRenzi on the podium, the April 6 performance moved with edge-of-the-seat excitement through three hours of full-blooded choruses — several of them for men alone.

Italian baritone Marco Nistico brought dramatic intensity to octogenarian Doge Franceso Foscari, while Benjamin Warschawski sang his passionate song with an energetic voice that, however, lacked the support that a good teacher should have given the Swiss tenor. As devoted wife, mother and daughter-in-law Panamanian soprano Reyna Carguill bore the sufferings of Lucrezia Contarini with regal dignity. Jeffrey W. Dean’s sets were of classic simplicity, and costumes by Howard Tsvi Kaplan brought the richness of primary colors to the staging.

That one knows of Puccini’s “La Rondine” at all is due to the popularity of the aria “Il bel sogno di Doretta,” a favorite of singers from Kiri Te Kanawa to Renee Fleming. And a pity that is, for the entire work, performed as lovingly as it was at the SO April 5 matinée, is an experience of heightened sensuous beauty. Some devaluate the sumptuous score as operetta, for in the directness of its emotional appeal it follows in the footsteps of Vienna’s fin-de-sie`cle masters. And the reference to Vienna is indeed valid, for Puccini had been asked to write “a comic opera like‘Der Rosenkavalier,’ but more amusing and more organic.” Whether“ Rondine” amuses the individual can decide, but the work is organic in that is well organized and tightly written. Nothing in it is superfluous.

MG_0011_copy.pngRyan MacPherson as Ruggero and Lina Tetruashvili as Magda (Photo by Richard Termine courtesy of Sarasota Opera)

Georgian soprano Lina Tetruashvili, who headed the cast as Magda, was perhaps the top star of the entire ’08 SO season. A young woman of gentle beauty, she was equally convincing as the successful courtesan and as a woman experiencing great love for the first time. As both she was painfully vulnerable, and her delivery of the first-act confessional self-confrontation competed favorably with recordings by established divas. Tenor Ryan MacPherson was a perfect blend of spoiled mama’s boy and unwritten page as a Ruggero who was a perfect partner for Tetrusashvili. As the second couple in the story Christina Bouras sang the maid Lisette with ironic detachment and a sense of good humor about the fools that mortals can be. But the true hero of the afternoon was David Neely, a young conductor whose career centers in Germany. Neely obviously believes in this score and in his surrender to its beauty made a fine case for its greatness.

The scenery and costumes that evoke the time and place of each SO production were particularly noteworthy in the second act of “Rondine.” A café of the Belle Époque was designed to perfection by Michael Schweikardt.An abundance of glass walls and ceilings, some decorated with sprays of flowers, made visible groups of round lights and a gray cityscape outside. References to the posters of the period by Alphonse Mucha and Toulouse-Lautrec provided a perfect ambiance for chance meetings and revelry.

Sometimes called “a poor man’s ‘Traviata’” because of parallels in plot, director Michael Unger proved that “La Rondine” is anything but;it is an opera to be taken seriously for its own merits. One hopes that the excellence of the SO staging will lead other companies to consider the work.

It is probably a good thing that Mozart’s “Cosí fan tutte” lists as a comic opera, for — considered in the cold light of day — this opera offers a picture of man — and woman — that in its brutal frankness is of a shocking cruelty that would otherwise ban it from the stage. (Indeed, one left the matinée performance on April 6 recalling the admonition from Georg Büchner’s drama “Woyzeck:” “Humans, you are sand, dust and filth —how dare you pretend to be more?”) Small wonder then that it took “Cosí” well over a century to find its way into the repertory. Fortunately, Mozart conceals his view on human frailty beneath the surface of music irresistible in its charm and élan, and Sarasota was fortunate in having as it conductor Pacien Mazzagatti, a youthful American who understands both dimensions of the work.

New Yorker Mazzagatti had cast and orchestra on such short leash that it was almost impossible for the audience to applaud at the end of arias. This practice should spread to operas everywhere, for it was astonishing to seethe continuity and dramatic structure that there is in Mozart when the music is not continuously interrupted by listeners overly eager to show their appreciation. Director Pat Diamond had an ideal quartet at his disposal:Marie Adele McArthur (Fiordiligi), Vanessa Cariddi (Dorabella), Sean Anderson (Gugglielmo) and Chad A. Johnson (Ferrando). Young, good looking and secure in their roles, the four easily kept pace with Mazzagatti’s animated approach to the score. Stephen Eisenhard was a worldly Alfonso without the Mephistophelean overlay often encountered elsewhere these days, but it was Alice Bernesche who really made things move as a bright and witty Despina. David P. Gordon’s airy sets permitted spoke almost fragrantly of the land where lemons blossom and allowed for quick changes by stage hands also in costumes by Howard Tsvi Kaplan.

IMG_3892.pngSean Anderson as Guglielmo, Vanessa Cariddi as Dorabella, Marie-Adele McArthur as Fiordiligi, and Chad A. Johnson as Ferrando (Photo by Danielle Rappaport courtesy of Sarasota Opera)

“Rigoletto” is something of a signature opera in Sarasota. In 1989 DeRenzi launched his Verdi Cycle with the 1851 work and he chose it to reopen the company’s renovated Mediterranean Revival theater this season. (The project cost $20 million.) It is thus surprising that it fell below the standard of excellence and excitement set by the other three works on SO stage this season. Michael Corvino kept the jester’s unsavory side in check to emerge as a truly tragic figure. However, Rafael Dávita sang — and played — the Duke with all the markings of a provincial tenor, and as Gilda Erica Strauss failed to catch fire. Impressive singing came from those in minor roles: Jeffrey Tucker (Sparafucile), studio artist Blythe Gaissert (Maddalena) and Jonathan Carle (Monterone). DeRenzi’s conducting was neither inspired nor inspiring. Stephanie Sundine directed; designer was David P. Gordan, and costumes by Howard Tsvi Kaplan. “Cosí” was a revival of the 2002 staging; the three other productions were new this season.

Although Saratoga packs its 33 performances — plus several programs staged by its apprentices — into a seven week March/April season, the company is an active presence on the Florida arts scene throughout the year.From August through April the SO musical staff works with three Youth Opera Choruses that enroll members beginning at age eight. They stage formal concerts in various venues in the city and appear also in hospitals, senior residences and nursing homes. The ensembles have participated in Italy’s International Choral Festival in Tuscany. As soon as the main season ends, work begins on the annual Youth Opera Production that stages works expressly written for children and young adults.

On stage in May this year is Canadian composer Dean Burry’s “The Hobbit,” a work based on J.R.R. Tolkien’s classic novel that was premiered to critical acclaim by Toronto’s Canadian Children’s Opera in 2004. Saratoga presents the American premiere of the work at performances slated for May 9 and 10. And SO has commissioned America’s senior music master Ned Rorem to compose a new work for 2009 based on Winsor Mcay’s comic strip “Little Nemo in Slumberland.” The libretto is being written by J.D. McClatchy. Members of the Youth Opera Choruses work with SO’s professional staff as supernumeraries and — when required — in children’s roles and choruses in mainstage productions.

MG_0019A.pngRafael Dávila as the Duke of Mantua (Photo by Richard Termine courtesy of Sarasota Opera)

Sarasota, with a population of 300,000, is — like much of Florida — primarily a retirement community. It is relatively easy to find accommodations within easy walking distance of the opera, which has contributed greatly to the revitalization of the downtown area. The town is immaculately groomed, and good — and reasonably priced — restaurants abound. Public transportation, although limited largely to daylight hours, is well organized. It gets one to the famed Ringling Art Museum in only 15 minutes. The small airport is a fairy-tale realm compared to the chaos and confusion that prevails elsewhere today. A taxi to downtown is as little as $13.

An advantage of the SO main season is that on two weekends one can hear all four operas in only three days. On the other hand, it seems a shame to spend so little time in a town that offers a maximum of leisure at slow tempos.

Saratoga Opera opens its 50th anniversary season in November with “Barber of Seville.” On stage in spring 2008 are “Tosca,” “Elixir of Love,” “L’amico Fritz” and “Don Carlos.”

For information, visit www.sarasotaopera.org

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):