27 Mar 2009
In Sarasota the composer is king
In the world of opera it’s now the director who is the top banana.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
In the world of opera it’s now the director who is the top banana.
He moves Figaro into Trump Towers and has Giovanni — light headed after two centuries of champagne — shoot up on cocaine in the South Bronx. Caesar courts Cleopatra — or is it the other way around? — poolside at the Cairo Hilton. Elixir — cross bred with The Music Man — plays at the Iowa State fair. It’s fun now and then, but in the long run it’s opera that suffers from this mayhem and madness. And thus in the midst of all this it’s reassuring to know that there is an opera company where it’s still the composer who comes first: the Sarasota Opera that just wound up its 50th anniversary season on the Florida coast.
“Our mission is to produce outstanding opera true to the vision of the composer,” says Victor DeRenzi, SO artistic director for half its history. “Here each production is based on one approach: the view of the work that comes from the composer.” The result is opera as envisioned by those who created it; no one else gets in the way.
Suzel : Catherine Cangiano
Those who have never attended one of the 500 performances that DeRenzi has conducted in Sarasota might find this the conservative credo of a man who looks back in history. But those who know the perfection and excitement of every opera staged at the SO relish the authenticity — and respect — that DeRenzi brings to SO productions.
In Sarasota it’s Verdi’s Verdi and Puccini’s Puccini that is on stage — not a flight of the imagination imposed upon their work by the Wunderkinder of Regieoper — director’s opera, the European import that currently prevails elsewhere. The major triumph of the 2009 season that ran for eight late-winter weeks in the intimate SO house that was handsomely rebuilt a year ago was Verdi’s Don Carlo. With it DeRenzi as conductor again confirmed his stature as a leading interpreter of this composer.
Don Carlo isn’t merely Verdi at his best, it is also the best of his operas based on a drama by Germany’s Friedrich Schiller. Here the Italian patriot underscores the parallels between the struggle for freedom in Inquisition-ridden Spain and the Italy of his own day.Eboli : Stella Zambalis; Don Carlos : Gustavo López Manzitti; Rodrigue : Marco Nisticò
Kevin Short was a deeply human Philippe II, unable to assert himself against the intolerance of a church chillingly represented by Jeffrey Tucker as the Grand Inquisitor. Panamanian Reyna Carguill was a full-blooded Elizabeth, beautifully balanced by the searing mezzo of Stella Zambalis as Eboli. And as Rodrigue Marco Nistico` was the very fiber from which revolutionaries are made.Elisabeth : Reyna Carguill; Don Carlos : Gustavo López Manzitti; Philippe : Kevin Short; Grand Inquisitor : Jeffrey Tucker
It was only Argentina’s Gustavo López Manzitti who in the title role failed to reach the level of passion of his colleagues. Stephanie Sundine directed this first North-American production of the four-act French version of the opera. Sets were by David P. Gordon, and Howard Tsvi Kaplan was responsible for lavish costumes that enhanced the realism of Verdi’s 16th-century Spaniards. Indeed, Kaplan who created costumes for all four operas of the SO season is a major asset of the company.
Each season Sarasota revives a work that has disappeared from the repertory, and the reaction to the first act of L’Amico Fritz, the 2009 “masterpiece,” was that works residing in oblivion are perhaps right where they belong. By the second act Mascagni’s 1891 score dispelled such doubts as vintage verismo warmed the heart. Swiss tenor Benjamin Warschawski and American soprano Catherine Cangiano were a winning lovers, while Heather Johnson earned high marks in the trouser role of Beppe. And although a rabbi seemed somewhat out of place in late 19th-century Alsace baritone Michael Corvino made him a winning figure. David Neely conducted; Michael Unger was stage director. Sets were by Michael Schweikardt.Suzel : Catherine Cangiano; Beppe : Heather Johnson; Fritz Kobus : Benjamin Warschawski; David : Michael Corvino
The popularity of Donizetti’s Elixir of Love easily leads to overplayed and exaggerated stagings. Happily, however, director Martha Collins kept everything under careful control to make the SO production unusually engaging. She was helped by an ideal cast led by youthful Mexico’s Edgar Ernesto Ramirez, a tenor who might well have the makings of a future Pavarotti.Adina : Mara Bonde; Nemorino : Edgar Ernesto Ramirez; Giannetta : Jo Ellen Miller
Michael Redding obviously relished the lover-boy image of soldier Belcore, and Stephen Eisenhard was a delight as an understated snake-oil salesman Dulcamara. As Adina Mara Bonde was all sugar and spice. John Mario Di Constanza conducted. Roger Hanna signed for sets.
Floria Tosca : Kara Shay Thomson
One would search far today to find a better trio of singers than the three brought to Sarasota for Tosca, which opened the season on February 7. In her SO debut Kara Shay Thomson was a Floria Tosca even younger than the years of the established singer that Puccini’s heroine is. She sang the famous “Vissi d’arte” with tender and internalized emotion.
Rafael Dávila, a splendid Cavaradossi, is a native of Puerto Rico and yet another of the richly talented tenors now coming from Latin countries. Yet it was the Scarpia of Grant Youngblood that brought new dimensions to this staging. Long a signature role of the American baritone, Youngblood downplays the tyrant that Scarpia is to make the appeal of Tosca to him far more than a passing sexual fantasy. DeRenzi conducted; Sundine was the director.Floria Tosca : Kara Shay Thomson; Mario Cavaradossi : Rafael Dávila
Of special interest was the March 20 performance of opera choruses by the Sarasota Youth Opera, an ensemble open to kids from the third grade up. The thoroughly professional conduct of these 75 singers was as amazing as it was impressive. Lance Inouye, their major mentor, conducted the full SO orchestra for the event. This is the only such opera program in the United States.