Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.

Dulwich Opera’s Carmen

Dulwich Opera Company’s Carmen was a convincingly successful show.  This was mainly due to succinct musical direction and rigorous dramatic direction.  It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye.

Franz Schreker: Die Gezeichneten

There is a host of fine operas out there languishing more or less unperformed (in some cases, quite unperformed). A few of them might even qualify as ‘great’. (Feel free to remove inverted commas, should that be your thing.) Franz Schreker’s Die Gezeichneten, whatever its proponents might claim, is certainly not one of those: not even close.

OPERA TODAY ARCHIVES »

Performances

Our Town at Juilliard Opera Center (Photo by Peter Schaaf)
04 May 2008

Ned Rorem's Our Town

Martha Graham used to say, “In order for there to be dance, there must be something that needs to be danced.”

Ned Rorem: Our Town

Emily: Jennifer Zetlan; Mrs. Gibbs: Jessica Klein; Mrs. Webb: Renée Tatum; Mrs. Soames: Julie Boulianne; George: Alex Shrader; Dr. Gibbs: Marc Webster; Mr. Webb: David McFerrin; Stage Manager: Alex Mansoori. Conductor: Anne Manson. Director: Edward Berkeley.
Juilliard Opera Center at the Juilliard School, performance of April 27.

Above: Pictured are (seated, from left) Anne Manson, the conductor; J.D. McClatchy, the librettist; and Ned Rorem, the composer; cast members include (standing) Alex Shrader, Jennifer Zetlan, and Alex Mansoori. (Photo by Peter Schaaf).

 

This occurred to me while attending Ned Rorem’s spare, elegant, uninteresting full-length opera (his first after a lifetime composing nearly every other sort of thing) derived from Thornton Wilder’s Our Town, a play as rooted in the poetry of the ordinary (pre-World War I New England variety) as the operatic form seems calculated to enhance and transcend it. Mr. Rorem himself has said that when he first took on this project (here receiving its New York premiere — the world premiere took place two years ago) he pondered whether Our Town called for operatic treatment, and whether he was the man to set it. My guess is the answers in both cases are clearly negative, but he blithely went right ahead.

Is there anything in Our Town, a play in which God is the most prosaic of stage managers (agnostic to boot, as Wilder was), and death is restfully preferable to even the pleasantest sort of living, that could be enhanced by song? Perhaps — but not the sort of song Mr. Rorem has provided, the through-composed recitative of mid-twentieth-century opera without those embarrassing tune thingies that bear unfortunate comparison with weak Broadway musicals. When Mr. Rorem requires a real tune — a hymn for the burial of Emily, his heroine, say, or her wedding march — what we get is a traditional hymn sung against ironic orchestral discords, or a few bars of Mendelssohn — because Mr. Rorem can’t really be trusted (by his librettist, J.D. McClatchy, or by himself, evidently) to come up with anything that would conjure the notion of “hymn” or “wedding march” on his own bat. The dialogue of the opera — or should I say play? — is offered without emotion either because the play does not call for much of it or because the idiom in use does not. (I wasn’t sure.) The most appealing and interesting portions of Mr. Rorem’s contribution were the few — very few — times he allowed more than one person to sing together: a trio of taunting baseball players calling “George!” when the hero pays too much attention to the girl he is sweet on, or the chorale of the dead that opens Act II. Otherwise, there isn’t much here here. If you’re going to make an opera, you really ought to let people let loose to sing a bit.

We do get singable vocal lines — after half a century producing beloved art songs, there isn’t much about writing graciously for the voice that Mr. Rorem does not know. It can’t be an accident that the large cast of Juilliard students with a considerable and varied level of experience all sounded able and grateful. The opera gives each one his or her moment — which no doubt will win it a future in the repertory of music schools if nowhere else. That’s too bad if it gets in the way of productions of better works for large casts, such as The Mother of Us All or The Ballad of Baby Doe.

The Mother of Us All gives us a hint about what went wrong in Our Town: Thomson took Gertrude Stein’s text, as he had the earlier Four Saints in Three Acts, and set it just as he found it, using the hymn tune background of his Missouri upbringing to create a nostalgic rather than referential score, full of original flavor. Rorem, though he comes from the same part of the country and, like Thomson, was educated in Paris by Nadia Boulanger, has self-consciously divorced himself from Americana and can find no way to link back to it. His hymn is not a charming in-the-style-of, but an intrusion. Nothing downhome permeates the background here. As for the play, it is typical of the libretto that the witty sidelong touches, geological and statistical “newsbreaks” quoted by one character or another, find no answering wit in Rorem’s music — they appear only in the surtitles. If the opera were produced without them, they’d have to go. Wilder’s balance of the quotidian with the eternal is unsprung, here and elsewhere. McClatchy and Rorem simply did not trust their material. Or (very likely) Our Town is a play requiring no song at all — it’s got its own, as much as it could ever need.

It was difficult not to compare Our Town to another American opera I’d seen recently: Philip Glass’s Satyagraha. Did this stage work respond adequately to, or even explicate, Mahatma Gandhi’s philosophy? There’s no way for me, only vaguely familiar with that philosophy or that life, to judge, but what Satyagraha did do was concoct so pleasing a musical language for that life that audiences are drawn to contemplate its meaning and achievement, both of which are undoubtedly worthy of operatic grandiloquence — rather the way Stein and Thomson meditated on Susan B. Anthony’s achievement in The Mother of Us All. Our Town may or may not deserve musicalization on some level, but the musical language Rorem has provided is inadequate to draw us in, to make us think the question worth resolving. We simply don’t want to spend time with this music. We’d rather hear Mendelssohn straight.

The expert Juilliard cast was led by Jennifer Zetlan, who sang Emily at the premiere, whose unsettlingly bright smile when she meets the other dead folks in the graveyard was presumably approved by the composer, and whose big bright soprano seems destined to fill larger houses in the very near future. I especially liked the voice and poise of Jessica Klein as Mrs. Gibbs and Julie Boulianne as a nosey neighbor, Marc Webster and David McFerrin as the two fathers (both given charming, self-involved monologues), and Alex Mansoori’s regal calm as the almighty Stage Manager. If there was an unappealing voice in all the large cast, it passed me completely. Now if only they’d been singing something that needed to be sung.

John Yohalem

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):