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.”
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
Chicago Opera Theater scored a resounding success with its area premiere of John Adams’ newest stage piece, “A Flowering Tree.”
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 (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 (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 (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.