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.”
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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.