27 Mar 2009
In Sarasota the composer is king
In the world of opera it’s now the director who is the top banana.
Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater.
Richard Jones’ 2009 production of Verdi’s Falstaff translates the action from the first Elizabethan age to the start of the second.
Baritone Gareth John is rapidly accumulating a war-chest of honours. Winner of the 2013 Kathleen Ferrier Award, he recently won the Royal Academy of Music Patrons’ Award and was presented the Silver Medal by the Worshipful Company of Musicians.
This second revival of Jonathan Miller’s La bohème was the first time I had caught the production.
It’s Verdi’s bicentenary year and Rolando Villazón has two new CDs to plug — titled somewhat confusingly, ‘Villazón: Verdi’ and ‘Villazón’s Verdi’, the latter a ‘personal selection’ of favourite numbers performed by stars of the past and present.
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
Paul Dukas’ Ariane et Barbe-Bleue, first heard in 1907, once seemed important. Arturo Toscanini conducted the Met premiere in 1911 with Farrar and later arranged some of its music for a 1947 recording with his NBC Symphony.
Utterly mad but absolutely right — Richard Strauss’s Ariadne auf Naxos started the Glyndebourne 2013 season with an explosion. Strauss could hardly have made his intentions more clear. Ariadne auf Naxos is not “about” Greek myth so much as a satire on art and the way art is made.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
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.