27 Mar 2009
In Sarasota the composer is king
In the world of opera it’s now the director who is the top banana.
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.
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.