27 Mar 2009
In Sarasota the composer is king
In the world of opera it’s now the director who is the top banana.
Donizetti Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics. It makes a powerful case for the opera, and also for Glyndebourne's artistic vision. Poliuto isn't standard repertoire - it's nothing like L'elisir d'amore - but this brilliant production and performances show what a powerful work it is
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
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.