25 Nov 2008
La Bohème in San Francisco
The show curtain was an illustration of the typical Parisian skyline.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
The show curtain was an illustration of the typical Parisian skyline.
On the downbeat it quickly parted to reveal a scenic contraption that was a garret of sorts, its mattress elevated on a pile (illustrated, not real) of books, and an admonition written on the wall Se plaindre c’est un perdre du temps (for those of the audience who didn’t know French or were sitting too far away to read it, this told us that complaining is a waste of time).
So, let us not waste time on what we found lacking, and get right to what we liked. San Francisco Opera Music Director designate, Nicola Luisotti, participated with every syllable uttered on the stage, literally quivered with every emotion, and wrenched very grand pathos out of Puccini’s sad little story. Donald Runicles’ San Francisco Opera Orchestra responded full bore to their new maestro with renewed lyricism and resplendent tone proving itself again one of the world’s fine operatic ensembles.
Moments of extraordinary verismo abounded. The monochromatic tenor of Piotr Beczala made sudden sense in the third act when Mo. Luisotti orchestrally evoked the naïve, adolescent recognition of new feelings by what seemed to be an emotionally retarded tenor. The fourth act duet of reconciliation shivered with tiny flashes of love, and finally the sudden, overwhelming orchestral cry, joined by that of Rodolfo, shattered the silence of death.
Norah Amsellem (Musetta)
Back at the first act, Mimi and Rodolfo sustained full throated high “C’s” offstage as the garret contraption disappeared into kinetic openness of a Parisian place. Illustrated hotels de la ville materialized in front of our eyes in a surprisingly simple, and pleasing a vista transformation of scene. The Cafe Momus later materialized much less elegantly, to become populated suddenly and a little strangely by a noisy crowd of youngsters — the amazing San Francisco Boys Chorus (with some members of the San Francisco Girls Chorus) singing boisterously and joyfully, and always on the beat.
The big house extravagance of a real marching band (two drums, four trumpets, two piccolos) parading noisily across the stage at the end of Act II was deeply satisfying too. Some of the best Boheme’s understandably occur in provincial theaters where resources are usually as humble as are the opera’s protagonists, and where it is far more cost efficient to render this lively musical climax from the pit.
If Maestro Luisotti gave us the very real if overscaled emotions of verismo, Angela Gheorghiu gave us simplicity itself as the ill-fated Mimi. She was the evening’s only believable and real character, achieved by la Gheorghiu with true artistry, artistry that often tested, and sometimes even teased her considerable, sophisticated vocal technique. Madame Gheorghiu (she is an officier de l’Ordre des Arts et des Lettres) indeed creates a vocally complex Mimi. That it is so physically manifest (acted out) is another matter, understandably irritating to the uninitiated, and irritating to stage directors who are almost universally not among her fans.
One can only sympathize with Mme. Gheorghiu in her trials with Lyric Opera of Chicago regarding an AWOL from her Chicago Boheme manquée rehearsals to visit Roberto who was singing Faust just then at the Met (if there is possibly anyone who does not yet know, the French tenorissimo Roberto Alagna is her husband). As Mme. Gheorghiu knows, Mimi is the calm center of the maelstrom of emotions that are La Boheme. What more is there for her to do than walk on stage at the end of Act I and sit on the bed while Rodolfo sings, sit at a table at the Cafe Momus while Musetta sings, hover in the background in Act III while Rodolfo and Marcello sing, and lie in bed in Act IV while her friends emote one by one. Quite obviously it is Mimi’s friends, not Mimi, who need rehearsal time as they are the ones who complete the show.
Scene from Act II
These San Francisco Opera performances of La Boheme (the last one will mark the two hundred twenty third SFO performance of Puccini’s little opera) bare the delicacy of this masterpiece when attempted with extravagant operatic resources. In San Francisco the problem was integrating smaller scale artists — singers, directors and designers - with great artists and with grand opera scale choral, orchestral and technical resources.