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.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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.”