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

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Der Rosenkavalier: Welsh National Opera in Cardiff

Olivia Fuchs' new production of Richard Strauss's Der Rosenkavalier is a co-production between Welsh National Opera and Theater Magdeburg. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since 1990 (when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie).

Don Giovanni takes to the waves at Investec Opera Holland Park

There’s no reason why Oliver Platt’s imaginative ‘concept’ for this new production of Don Giovanni at Investec Opera Holland Park shouldn’t work very well. Designer Neil Irish has reconstructed a deck of RMS Queen Mary - the Cunard-White Star Line’s flag-ship cruiser during the 1930s, that golden age of trans-Atlantic cruising. Spanning the entire width of the OHP stage, the deck is lined with port-holed cabin doors - perfect hideaways for one of the Don’s hasty romantic dalliances.

"Recreated" Figaro at Garsington delights

After the preceding evening’s presentation of Annilese Miskimmon’s sparkling production of Handel’s Semele - an account of marital infidelity in immortal realms - the second opera of Garsington Opera’s 2017 season brought us down to earth for more mundane disloyalties and deceptions amongst the moneyed aristocracy of the eighteenth-century, as presented by John Cox in his 2005 production of Mozart’s Le nozze di Figaro.

Semele: star-dust and sparkle at Garsington Opera

To open the 2017 season at Garsington Opera, director Annilese Miskimmon and designer Nicky Shaw offer a visually beautifully new production of Handel's Semele in which comic ribaldry and celestial feuding converge and are transfigured into star-dust.

OPERA TODAY ARCHIVES »

Performances

Kumudha (Natasha Jouhl) transforms into a flowering tree [Photo by Liz Lauren]
28 May 2008

Tree-mendous in Chicago

Chicago Opera Theater scored a resounding success with its area premiere of John Adams’ newest stage piece, “A Flowering Tree.”

John Adams: Flowering Tree

Kumudha (Natasha Jouhl), Prince (Noah Stewart), Storyteller (Sanford Sylvan). Conductor: John Adams (May 14,17); Joana Carneiro (May 20, 23, 25). Director: Nicola Raab. Choreographer: Renato Zanella. Production Designer: George Souglides.

Above: Kumudha (Natasha Jouhl) transforms into a flowering tree
All photos by Liz Lauren courtesy of Chicago Opera Theater.

 

And it did so with a completely different take on the piece than that devised by Peter Sellars for Vienna’s world premiere in November 2006 at the Festival of New Crowned Hope.

The original concept had the large orchestra on stage, with minimal stage action relegated to small elevated playing spaces, more semi-staged oratorio than a full-fledged dramatic rendering. It is perhaps no accident that this Chicago company has “theater” prominently included in its name, for they have put the band back in the pit, and with consummate stagecraft, they fleshed out this folk tale’s libretto which was crafted by Sellars and the composer based on a story translated by A.K. Ramanujan from the Kannada language of southern India.

the-king.pngThe king (James Johnson, dancer).
The tale concerns two sisters, one of whom, “Kumudha,” is able to transform herself into “A Flowering Tree” and back again. However, her jealous sibling’s wicked friends break the spell, trapping the heroine in her tree-state, breaking her limbs, and leaving her in the gutter as a pitiful grub-like torso. After her disappearance, the “Prince,” having already wedded her for her bewitching beauty and powers, wanders disconsolately until his love restores her and reunites them in marital bliss. The only other singing principal is a “Storyteller.”

The minimalist set and costume design by George Souglides scored big, with simple yet highly imaginative effects. The first important transformation scene was accomplished with “Kumudha’s” sister (dancer Karla Victum) stretching hidden, over-long sleeves from her costume and extending and twisting the “branches” into various shapes. Each subsequent transfiguration was larger then the previous, magically accomplished with colored ropes.

Whether descending from the flies or rising from the stage floor, these were presented in artfully tied designs that would be the envy of any advanced macrame class. Indeed, the curtain rise of Act Two stunningly coincided with a “growing tree” emanating from “Kumudha” down center stage that ultimately filled the entire proscenium opening. The few set pieces and props (a veil-covered over-sized wedding bed, a gilt throne, primitive masks on poles) were selected with attentive care.

the-storyteller.pngThe Storyteller (Sanford Sylvan).
The evocative and colorful costume design was effectively based on traditional Indian and Asian street and stage garb, with a couple of the specialty dance turns being dazzlingly outfitted. I wish that same attention had been lavished on our heroine, who looked quite plain; well, too plain by comparison. Indeed, the rather lumpy and shapeless white coat she wore in the wedding scene was promisingly removed to reveal only more of the same look, if better fitted. All of this was well-served by Aaron Black’s terrific lighting, artfully combining lustrous washes of color with well-calculated and flawlessly executed specials, gobos, and area lighting.

If all this was gorgeous to behold, it would not have impacted us as strongly as it did without Nicola Raab’s masterful direction. First, without ever unduly cluttering the stage, Ms. Raab has devised meaningful and poetic movement for the large chorus and corps de ballet. As we entered the theatre, the white-garbed “Storyteller” was already seated, immobile on a chair stage right. Slowly, the chorus in reddish-orange filed on from various points and seated themselves on the stage around him, ultimately creating a visual “island” that captivates us before a note is played. We couldn’t wait to hear what he has to say.

Similarly, meaningful character relationships are defined with ethereal subtlety. The mating scene with our newlyweds walking/stalking on the bridal bed was a study in sensuous restraint, as the pair never quite touched but conveyed the impression of love-making nonetheless by tracing the head and torso with slow sweeping gestures, and intertwining their arms (well, almost) in ever inventive combinations.

Perhaps the most problematic scene of all, the dismemberment of the tree-trapped “Kumudha” was beautifully solved by having two dancers wrap her in a cocoon of a vibrant red cloth. Leaving one arm free, the actress could recline, sit up, and drag herself around the stage as a sympathetic outcast.

The ritualistic choreography by Renato Zanello was well-executed by not only his trained dancers, but also pleasingly performed by the singing chorus. The clean, thrilling choral work (most of them are in the COT Young Artists Program) was complemented by the group’s exceptional ability to transform themselves at will from commentators, to bystanders, to relatives, to royal subjects, all the while doing some amazing staged business, not the least of which was crawling from the wings on their bellies to pick up folded boards that were used in any number of combinations to create everything from a village of houses to a penultimate pop-up back-drop for the lovers’ reunion.

COT assembled a fine trio of singers as its principals. Natasha Jouhl proved an affecting “Kumudha,” singing with a well-schooled, ample lyric soprano that easily encompassed all the wide ranging demands and soaring lines of this difficult role. Originally written with Dawn Upshaw in mind, the part was taken over in Vienna (and several other locations) by rising star Jessica Rivera (who recently triumphed locally in another Adams piece, Chicago Lyric’s “Dr. Atomic”). Dawn and Jessica are two artists who really “get” this music and don’t just sing it, but embody it. That said, although she vocalized it splendidly, looked attractive, and acted with commitment, I did not yet feel that Ms. Jouhl has fully integrated the piece into her voice, or more particularly, her artistry. I would love to see her again after she has the experience of some more performances.

With Noah Stewart’s “Prince” I felt that we were experiencing an artist on the verge of a major career. He brought a regal bearing to the portrayal, and a polished, weighty lyric voice with excellent thrust on the high phrases, and wonderful presence throughout the range. Excellent diction, handsome good looks, beautiful instrument, wonderful musical instincts, sound technique, stage savvy — he’s got the goods.

I have long admired the fine artist Sanford Sylvan, but I found that his soft-grained approach was initially a little too lieder-based and subtle for the task at hand as the “Storyteller.” Seated a third of the way upstage for the first act, while I could hear his beautiful sounds and sensitive phrasing, I too often had real trouble understanding the text and found my gaze drifting to the surtitles. When he came forward to the side of the proscenium in Act Two, there was an immediate difference. This would be a quick fix by just telling him to “Sing out, Louise” when he is upstage. Still, he is a treasureable baritone and was an audience favorite.

kumudha-and-prince.pngKumudha (Natasha Jouhl) and the Prince (Noah Stewart).
Diminutive Joana Carneiro had taken over conducting duties from Mr. Adams and this was a tour-de-force assumption. “Tree” is a monster-piece that calls for split second rhythmic changes, quicksilver mood-altering shifts, lyrical outpouring, percussive tirades, and well, the kitchen sink just may have been in there somewhere. Above all, this stuff must be clean-clean-clean to make its hypnotic effect and save a few squishy moments in the opening bars’ undulating strings, Ms. Carneiro was in full command of her forces. As if she was driving a car at 120 miles an hour, there was no room for error. And she negotiated every twist and turn of this challenging piece with concentrated inspiration. Brava Maestra!

It seems as though Mr. Adams may have developed the score a bit since Vienna, where I remember thinking that perhaps the heroine should have a set piece up front to announce her character. It seems that “Kumudha” had more exposition to sing at COT. Or maybe the staging was just that much more compelling. For all its glories, and they are many and they are ravishing, I still found myself wishing that the long chanted choral dance in Act Two (sort of Rap-Lite) was a bit shorter. And I sorta wanted a radiant final duet for the reunited lovers. Have I seen “Turandot” too many times? Perhaps.

Still, this was in toto a welcome and notable achievement. Chicago is a world class musical city and with Chicago Opera Theater’s “A Flowering Tree” we have been treated to a sampling of the very best the town has to offer.

James Sohre

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):