01 Dec 2008
Carmen at the Washington National Opera
From the director’s point of view, there are two ways to approach staging an opera.
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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
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.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
From the director’s point of view, there are two ways to approach staging an opera.
It can be an ensemble work, with the main roles given relatively equal weight, and interaction between the characters central to plot development. An opera production can also be a star vehicle, in which a single principal (or more rarely, a pair of leads) carries the performance, while the rest of the cast plays supporting roles that sets off the drama of the “stars.” Some operas may be conceptualized either way, while others lend themselves naturally to one staging type or another: La bohème, for instance, works best as an ensemble piece, while Boris Godunov, particularly in its 1869 version, revolves around its protagonist. Arguably, so does Carmen whose femme fatale heroine writes not only her own tragic fate, but those of at least two other principals, Don José and Micaëla (the self-involved matador Escamillo will probably get over her death soon enough).
Sabina Cvilak as Micaela, Thiago Arancam as Don Jose. [Photo by Karin Cooper]
The absolute necessity of mezzo star power for a successful Carmen has once again been demonstrated by the Washington National Opera’s current production of Bizet’s classic. The fabulous DC native Denyce Graves completely dominated on stage as the seductive gypsy, with both her colleagues and the audience content to let her rule not only Don José’s heart, but also Georges Bizet’s score. Ms Graves allowed herself quite a few liberties in text projection, pitches, and timing of her part. Yet somehow, even the most fastidious purist would not have minded such an open desire for “liberty,” to quote the lady herself. She was utterly convincing in her interpretation; and if the locals saw more a fast-talking broad from South-East DC than a factory girl from the gutters of Seville, well, so much the better. Of much help were the gorgeous reds and oranges of Lennart Mark’s flamenco-inspired costumes, and the percussion section of the orchestra, which thankfully did not follow Ms Graves’s pliable relationship with time, and accompanied her dancing tastefully and precisely. Most importantly, to the singer’s credit, she has crafted her heroine’s image beautifully, knowing when to seize the limelight and when to fade into the background. The Act 2 quintet turned out to be one of the most successful moments in the production precisely because Ms Graves stepped back and blended with the ensemble. Yet later in the scene, her pitch-perfect, richly textured call “Amour ,” thrown to Escamillo from across the stage, turned not only the matador’s head, but everyone else’s in the building.
Denyce Graves as Carmen with WNO Chorus. [Photo by Karin Cooper]
Of course, with Denyce Graves, acclaimed as “the definitive Carmen,” on the playbill, a powerful protagonist in this WNO production was to be expected. More unusual was the fact that the sentimental lyrical soprano Micaëla, traditionally the weakest link in Bizet’s quartet of leads, almost managed to stand up to her rival. This thanks to Sabina Cvilak’s convincing performance, still a little shaky in Act 1, but seemingly having grown with her heroine toward a strong, powerful Act 3 finale. The men of the cast, on the other hand, were almost invariably unimpressive. Not that they did not try to make their mark. Both Thiago Arancam as José and Jorge Lagunes as Escamillo struck the right poses and delivered their high notes with panache; the Flower aria turned out quite well as a result, the torero’s infamous couplets rather less so. For the most part, however, the two male leads sounded weak and much too easily dominated by their ladies. Carmen’s derisive laugh moments before her demise seemed therefore right on target - John Marcus Bindel as Zuniga, and hilarious James Shaffran and Peter Burroughs as Le Dancaire and Le Remendado respectively all left her poor tenor in the dust The solid support cast and the girl power, however, were enough to ensure a quality production and an enjoyable evening of “all about Carmen.”