30 Jul 2008
Baroque Oratorio Premieres in New Jersey
For two years, the subdued rumble of anticipation had been building to a forte.
Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater.
Richard Jones’ 2009 production of Verdi’s Falstaff translates the action from the first Elizabethan age to the start of the second.
Baritone Gareth John is rapidly accumulating a war-chest of honours. Winner of the 2013 Kathleen Ferrier Award, he recently won the Royal Academy of Music Patrons’ Award and was presented the Silver Medal by the Worshipful Company of Musicians.
This second revival of Jonathan Miller’s La bohème was the first time I had caught the production.
It’s Verdi’s bicentenary year and Rolando Villazón has two new CDs to plug — titled somewhat confusingly, ‘Villazón: Verdi’ and ‘Villazón’s Verdi’, the latter a ‘personal selection’ of favourite numbers performed by stars of the past and present.
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
Utterly mad but absolutely right — Richard Strauss’s Ariadne auf Naxos started the Glyndebourne 2013 season with an explosion. Strauss could hardly have made his intentions more clear. Ariadne auf Naxos is not “about” Greek myth so much as a satire on art and the way art is made.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
Back for its fourth revival, David McVicar’s 2003 production of Mozart’s Die Zauberflöte has much charm, beauty and artistry.
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.