30 Jul 2008
Baroque Oratorio Premieres in New Jersey
For two years, the subdued rumble of anticipation had been building to a forte.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
For two years, the subdued rumble of anticipation had been building to a forte.
Finally, on June 22, at the College of St Elizabeth in Morristown, New Jersey, the Baroque Orchestra of New Jersey presented the modern day premiere of Alessandro Scarlatti’s brilliantly operatic oratorio La Giuditta, here in its earliest and most complete form. Maestro Robert W. Butts edited Scarlatti’s masterpiece from the original 1693 manuscript which is currently in the collection of the National Park Service in Morristown, New Jersey.
Scarlatti’s La Giuditta exists in at least two other versions and has been performed and recorded based on a later abridged manuscript. The more extensive March 1693 manuscript used for Sunday’s performance, was brought to the attention of Maestro Butts by Dr. Jude Phister, Chief of Cultural Resources at the Washington’s Headquarters offices.
Maestro Butts brought the score he edited to life, conducting with sensuality and passion while directing the fluid sounding orchestra through the magical ritornelli which concluded each aria. Soloists from within the orchestra were, in places, almost as memorable as the vocal stars. Most notable was concertmaster Michael Avagliano who played a duet with soprano Marjorie Berg on the work’s most extensive aria ma so ben. He performed several other solo parts in collaboration with other musicians of the ensemble.
Providing poignant and moving melodic interest was Nancy Vanderslice who soloed on oboe and English Horn. Bassoonist Andrew Pecota was also solid both in continuo parts and his few solo moments. Harpsichordist John Pivarnik, too, added much to the success of the performance, constantly on deck and supporting the singers perfectly.
Baritone Mark Hewitt filled in at the last minute after two previous singers pulled out. While it is true that Mr. Hewitt had some problems in voice projection of the lowest tones required of his role as Oloferne, he still delivered a performance of notable dramatic intensity. His interaction with Marjorie Berg (Giuditta) was passionate and believeable. The result was something to be genuinely greatly appreciated.
Marjorie Berg gripped the audience with an emotionally involved portrayal of the title role. Have memorized her entire part, she sang with authority and character, conveying equally well the seductive nature and determination inherent in the part.
Bass John Lamb is a familiar face to early music audiences in the area. He executed the relatively small role of Sacerdote in solid vocal form, displaying an even tone appropriate to the gravity that infuses the character. Both arias and recitatives were sung with conviction and style.
Mezzo Teresa Giardina made her debut with the orchestra as Ozia, the beleaguered prince of Bettulia. Recently graduated from Ithica, Ms. Giardina sang with clarity and emotional beauty in arias of great depth. She was especially memorable in the moving addio libertai of the second act.
Tenor Daniel Foran sang the role of the Captain. His voice produced grace and an elegant warm beauty which was especially winning. Mr Foran has been a frequent performer with the Baroque Orchestra of New Jersey and this performance showed how he’s blossomed in his art. His rendition of dalla patria at the end of Act I was truly unforgettable. Hopefully, he will make the aria a part of his concert and recital repertoire!
Harmonium Choral Society, directed by Anne Matlack, joined in for the final celebratory choruses, adding luster and power to create a rousing finale.
Hearing this deeply moving performance, one can only hope that other singers and ensembles will take this marvelous work into their concert repertoire. The work is filled with beautiful music and is deeply dramatic, practically crying out for a staged interpretation. It was presented here for the first time complete in the modern era. One can only hope it won’t take another three hundred years to hear it completely performed again.