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

Laurent Pelly's production of La Fille du régiment returns to Covent Garden

French soprano Sabine Devieilhe seems to find feisty adolescence a neat fit. I first encountered her when she assumed the role of a pill-popping nightclubbing ‘Beauty’ - raced from ecstasy-induced wonder to emergency ward - when I reviewed the DVD of Krzysztof Warlikowski’s production of Handel’s Il trionfo del Tempo e del Disinganno at Aix-en-Provence in 2016.

The Rise and Fall of the City of Mahagonny in Aix

Make no mistake, this is about you! Jim laid-out dead on the stage floor, conductor Esa-Pekka Salonen brought his very loud orchestra (London’s Philharmonia) to an abrupt halt. Black out. The maestro then turned his spotlighted face to confront us and he held his stare. There was no mistake, the music was about us.

Mozart's Travels: Classical Opera and The Mozartists at Wigmore Hall

There was a full house at Wigmore Hall for Classical Opera’s/The Mozartists’ final concert of the 2018-19 season: a musical paysage which chartered, largely chronologically, Mozart’s youthful travels from London to The Hague, on to Paris, then Rome, concluding - following stop-overs in European cultural cities such as Munich and Vienna - with an arrival at his final destination, Prague.

Tosca in Aix

From the sublime — the Mozart Requiem — to the ridiculous, namely stage director Christophe Honoré's Tosca. A ridiculous waste of operatic resources.

A terrific, and terrifying, The Turn of the Screw at Garsington

One might describe Christopher Oram’s set for Louisa Muller’s new production of The Turn of the Screw at Garsington as ‘shabby chic’ … if it wasn’t so sinister.

Mozart Requiem in Aix

Pierre Audi, now the directeur général of the Festival d’Aix as well as the artistic director of New York City’s Park Avenue Armory opens a new era for this distinguished opera festival in the south of France with a new work by the Festival’s signature composer, Wolfgang Amadeus Mozart.

A Rachmaninov Drama at Middle Temple Hall

It is Rachmaninov’s major works for orchestra - the Second and Third Piano Concertos, the Rhapsody on a Theme of Paganini, the Symphonic Dances - alongside the All-Night Vespers and the music for solo piano, which have earned the composer a permanent place in the concert repertoire today.

Fun, Frothy, and Frivolous: L’elisir d’amore at Las Vegas

There are a dizzying array of choices for music entertainment in Las Vegas ranging from Celine Dion and Cher to Paul McCartney and Aerosmith. Admittedly, these performers are a far cry from opera, but the point is that Las Vegas residents have many options when it comes to live music.

McVicar's production of Mozart's Le nozze di Figaro returns to the Royal Opera House

David McVicar's production of Mozart's Le nozze di Figaro at the Royal Opera House, Covent Garden, has been a remarkable success since it debuted in 2006. Set with the Count of Almaviva's fearfully grand household in 1830, McVicar's trick is to surround the principals by servants in a supra-naturalistic production which emphasises how privacy is at a premium.

The Cunning Little Vixen at the Barbican Hall

The presence of a large cast of ‘animals’ in Janáček’s The Cunning Little Vixen can encourage directors and designers to create costume-confections ranging from Disney-esque schmaltz to grim naturalism.

Barbe-Bleue in Lyon

Stage director Laurent Pelly is famed for his Offenbach stagings, above all others his masterful rendering of Les Contes d’Hoffmann as a nightmare. Mr. Pelly has staged eleven of Offenbach’s ninety-nine operettas over the years (coincidently this production of Barbe-Bleue is Mr. Pelly’s ninety-eighth opera staging).

The Princeton Festival Presents Nixon in China

The Princeton Festival has adopted a successful and sophisticated operatic programming strategy, whereby the annual opera alternates between a standard warhorse and a less known, more challenging work. Last year Princeton presented Puccini’s Madama Butterfly. This year the choice is Nixon in China by modern American composer John Adams, which opened before a nearly full house of appreciative listeners.

Humperdinck's Hansel and Gretel at Grange Park Opera

When Engelbert Humperdinck's sister, Adelheid Wette, wrote the libretto to Hansel and Gretel the idea of a poor family living in a hut near the woods, on the bread-line, would have had an element of realism to it despite the sentimental layers which Wette adds to the tale.

Handel’s Belshazzar at The Grange Festival

What a treat to see members of The Sixteen letting their hair down. This was no strait-laced post-concert knees-up, but a full on, drunken orgy at the court of the most hedonistic ruler in the Old Testament.

Don Giovanni in Paris

A brutalist Don Giovanni at the Palais Garnier, Belgian set designer Jan Versweyveld installed three huge, a vista raw cement towers that overwhelmed the Opéra Garnier’s Second Empire opulence. The eight principals faced off in a battle royale instigated by stage director Ivo van Hove. Conductor Philippe Jordan thrust the Mozart score into the depths of expressionistic conflict.

A riveting Rake’s Progress from Snape Maltings at the Aldeburgh Festival

Based on Hogarth’s 18th-century morality tale in eight paintings and with a pithy libretto by W.H. Auden and Chester Kallman, Stravinsky’s operatic farewell to Neo-classicism charts Tom Rakewell’s ironic ‘progress’ from blissful ignorance to Bedlam.

The Gardeners: a new opera by Robert Hugill

‘When war shall cease this lonely unknown spot,/ Of many a pilgrimage will be the end,/ And flowers will shine in this now barren plot/ And fame upon it through the years descend:/ But many a heart upon each simple cross/ Will hang the grief, the memory of its loss.’

Richard Jones's Boris Godunov returns to Covent Garden

There are never any real surprises with a Richard Jones production and Covent Garden’s Boris Godunov, first seen in 2016, is typical of Jones’s approach: it’s boxy, it’s ascetic, it’s over-bright, with minimalism turned a touch psychedelic in the visuals.

An enchanting Hansel and Gretel at Regent's Park Theatre

If you go out in the woods today, you’re sure of a big surprise. And, it will be no picnic! For, deep in the broomstick forest that director Timothy Sheader and designer Peter McKintosh have planted on the revolving stage at Regent’s Park Theatre is a veritable Witches’ Training School.

First staged production of Offenbach's Fantasio at Garsington

Offenbach's Fantasio is one of the works where, replacing the mad-cap satire of his earlier operettas with a more romantic melancholy, he paved the way for Les contes d'Hoffmann. Unpopular during his lifetime, Fantasio disappeared and only work by the musicologist Jean-Christophe Keck brought the score together again.

OPERA TODAY ARCHIVES »

Performances

Gregg Baker (Cinque) and Fikile Mvinjelwa (Antonio) performing in Amistad at Spoleto Festival USA, May 22- June 8, 2008. Photo by WIlliam Struhrs.
28 May 2008

Revised Amistad makes its mark

Upon its premiere at Chicago’s Lyric Opera in 1997 Anthony Davis’ Amistad found little critical favor. Its undisciplined excesses led one writer to compare it to a high-school pageant.

Anthony Davis: Amistad

The Trickster God: Michael Forest; Navigator: Raúl Melo; Don Pedro: Jeffrey Wells; Kinnah: Robert Mack; Grabeau: Kevin Maynor; Burnah: Herbert Perry; Margru: Janinah Burnett; Bahia: Kendall Gladen; Kaleh: Norman Shankle; Captive Girl: Crystal Charles; Cinque: Gregg Baker; Lieutenant: Edward Parks; Antonio: Fikile Mvinjelwa; Reporter 1: Dennis Petersen Reporter 2: Zachary Coates; Reporter 3: Jan Opalach; Reporter 4: Jonathan Green; Phrenologist: Dennis Petersen; Abolitionist Tappan: Brian Frutiger John Quincy Adams: Stephen Morscheck; Judge: Edward Parks; Goddess of Waters: Mary Elizabeth Williams; Ship Cook: Brian Matthews. Director: Sam Helfrich; Conductor: Emmanuel Villaume; Assistant Conductor: Olivier Reboul; Accompanist: Lydia Brown; Costume Designer: Kaye Voyce Set Designer: Caleb Wertenbaker; Lighting Designer: Peter West.

Above: Gregg Baker (Cinque) and Fikile Mvinjelwa (Antonio).
All photos by WIlliam Struhrs courtesy of Spoleto Festival USA.

 

Happily, a constellation of circumstances caused Nigel Redden, general director of Spoleto USA, to see Amistad as an ideal work for the 2008 season of the Charleston, South Carolina, festival.

Amistad tells the true story of a Spanish ship taking captive Africans to America to be sold as slaves in 1839. The Africans mutinied, killed most of the ship’s crew and intended to return home. Misguided by the surviving navigator they landed on Long Island. The Spaniards demanded their return, but the still young United States was sharply divided on what action should be taken. The Africans found an eloquent defender in former president John Quincy Adams who pleaded their case before the Supreme Court. Two years later they were released from jail and allowed to return to Africa.

And the circumstances at Spoleto USA? Charleston, commercial and cultural center of the old South, was the epicenter of the slave trade, which — although outlawed by Congress in 1808 — continued illegally. The city’s slave market is maintained as a museum that recalls painful past history.

lrg-288-img_1201.pngStephen Morscheck (John Quincy Adams)
The site for Amistad was the totally reconstructed Memminger Auditorium, a 1939 building devastated by Hurricane Hugo in 1989. Once the city’s major performing arts venue, the building stands at the edge of a mixed neighborhood near the historic heart of Charleston. What better work to pinpoint Charleston on the historical map than Amistad?

Redden insisted upon major revision of the score and he, along with Spoleto director of opera and orchestras Emmanuel Villaume, played an active part in the project. With their help Davis and his librettist cousin Thulani Davis made Amistad an opera much leaner, more focused and dramatically far more effective than the original. And in so doing they created not only a masterpiece of American opera, but further a work that — against a contemporary horizon darkened by undercurrents of racism — resonates today far beyond Memminger and Spoleto USA.

The Davises eliminated characters and scenes, and the composer reduced the orchestra from 65 to 45. Amistad — now only slightly more than two hours of music — is a work transparently coherent both in narrative and music, and Spoleto assembled a creative team and cast that made the work, seen at its premiere on May 22 and again on May 25, an opera that should be widely performed. Amistad now has a mass hero of eight Africans, each with significant solos. As their leader Cinque, bass-baritone Gregg Baker was a commanding presence on the oblong Memminger stage, and as Margru, soprano Janinah Burnett gave a poignant account of how women were treated by their captors. It was followed by the overpowering chorus “Ankle and Wrist,” referring to the chains the Africans had worn.

lrg-281-img_0801.pngGregg Baker (Cinque) and ensemble.
Tenor Dennis Petersen led a quartet of reporters out to exploit the Amistad case as a public sensation, while tenor Brian Frutiger brought passion to forces advocating abolition of slavery. Bass-baritone Stephen Morscheck, tall and lean, was an imposingly agitated ex-president Adams in his confrontation with the Supreme Court.

Davis has woven hints of jazz, blues and even scat so seamlessly into the score that they surrender their identity to his uniquely personal idiom. His use of the hymn “Jesus Savior, Pilot Me” is one of the most moving moments in the opera. Thus the dialectic of American history — the commitment, on the one side, to free men and, on the other, the acceptance of slavery despite the noble wording of basis documents — played out before the Memminger audience. The Davises brought a mythic gloss to Amistad by placing the story of the ship and its captives in the hands of a pair of deities from African mythology. As the Trickster God tenor Michael Forest, both narrator of the story and participant in it, had the lead role in the huge cast, while Mary Elizabeth Williams brought humane concern to the Queen of the Waters with her warm and winning mezzo.

Director Sam Helfrich, set and costume designers Caleb Hale Wertembaker and Kaye Voice, and lighting designer Peter West collaborated to make Amistad flow with ease across the stage in Memminger’s black-box interior. Indeed, the production is a coup of music theater for Spoleto — an experiment in opera grand and intimate and timely in its content. The trial that consumes most of the second act is a superlative achievement of dramatic narrative that reaches back to the beginnings of slave trade and culminates in a vivid reenactment of the mutiny on board the Amistad.

A major contributor to the success of the production was conductor Emmanuel Villaume. Working — he noted — as the many-armed Indian god Shiva, he led his gifted ensemble of young instrumentalists through Davis’ complex score, unfazed by its multiple meters and shifting rhythms to bring musical and dramatic drive and continuity to this compelling story.

lrg-289-img_1333.pngJaninah Burnett (Margru), Herbert Perry (Burnah), Norman Shankle (Kaleh), Mary Elizabeth Williams (Goddess of the Waters), Crystal Charles (Captive).

It is significant that the Spoleto revival of the revised Amistad comes less than a month after the world premiere of another opera that confronts the question of slavery in the years prior to the Civil War: Kirke Mechem‘s John Brown’s Body, premiered by the Kansas City Lyric Opera on May 3. Both works call for careful reconsideration of truths long — and uncritically — held self evident.

It is of interest that while most of the Amistad captives returned to Africa, one — a woman — stayed in this country and earned a degree from Oberlin College.

The 2008 season of Spoleto USA runs through June 8. Visit www.spoletousa.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):