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.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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.”