06 Apr 2009
WAGNER: Siegfried — Rome 1968
Siegfried: Second day of Der Ring des Nibelungen in three acts.
There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.
Some time ago in San Francisco there was an Aida starring Luciano Pavarotti, now in Orange it was Carmen starring Jonas Kaufmann. No, not tenors in drag just great tenors whose names simply outshine the title roles.
If Strauss’s operas of the 1920s receive far too little performing attention, especially in the Anglosphere, those of the 1930s seem to fare worse still.
Sara Gartland is an emerging singer who brings an enormous talent and a delightful personality to the opera stage. Having sung lighter soprano roles such as Juliette in Gounod’s Romeo et Juliette and Violetta in Verdi’s La traviata, Gartland is now taking on the title role in Leoš Janáček’s dramatic opera Jenůfa.
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
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.
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.
Kathleen Ferrier may have been one of the world’s finest contraltos but this year’s Kathleen Ferrier Awards Final, held at the Wigmore Hall, was all about lyric sopranos.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
Julia Noulin-Mérat is the principal designer for the Noulin-Merat Studio, an intrepid New York City production design firm that works in theater, film, and television, but emphasizes opera and immersive site-specific theatre.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Anita Rachvelishvili recently performed the title role in Carmen broadcast by The Metropolitan Opera Live in HD. Here she drops by for a little chat with our Maria Nockin.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Siegfried: Second day of Der Ring des Nibelungen in three acts.
Music and libretto by Richard Wagner.
First Performance: 16 August 1876, Bayreuth, Festspielhaus
Mime’s forge in the forest
Mime tries in vain to forge a sword strong enough for Siegfried to kill the dragon Fafner. Siegfried returns from the forest with a bear with which he terrifies Mime. He easily breaks the latest sword on the anvil. Mime reproaches him with ingratitude, reminding him that he has brought him up from childhood. Refusing to believe that Mime is his father, Siegfried manages to extract from him the information that his mother, Sieglinde, had died giving birth to him, leaving the fragments of his father’s sword, Nothung. Siegfried demands that Mime reforge this sword and storms out, hoping he may soon be free of the dwarf.
Mime knows he cannot forge the sword, but when the Wanderer (Wotan) appears and offers to answer any three questions on pain of forfeiting his head, Mime asks him only useless questions (about the races of dwarf, giants and gods). When the Wanderer demands a reciprocal question test, Mime is able to answer the first two questions but fails on the third: who will reforge Nothung? The Wanderer tells Mime that his head is forfeit, but he leaves it to be claimed by one who knows no fear.
Mime realises that this is one lesson he has failed to teach Siegfried and tries vainly to make up this omission, but Siegfried is unmoved, even by the mention of the fearsome dragon. Mime has to admit that his skill is unequal to the task of forging Nothung and Siegfried takes to the task himself, breaking all the rules of smithing, but succeeding, while Mime brews a potion he plans to administer to Siegfried when he has killed Fafner, so that he can kill him and seize the ring.
Deep in the forest, near the entrance to Fafner’s cave
Alberich waits near the cave, hoping that someone will kill the dragon and give him the chance to take possession once more of the ring. The Wanderer appears and, to Alberich’s surprise, professes no interest in the ring, but warns him that Mime is bringing Siegfried to kill the dragon. The Wanderer summons Fafner, who rejects Alberich’s offer to protect him from Siegfried in exchange for the ring.
Mime brings Siegfried to the spot, promising that here he will learn fear. Siegfried wonders about his mother and listens to the murmurs of the forest, in particular a bird, whose warbling he tries to imitate on a roughly improvised reed pipe. He gives up and blows a call on his hunting horn, which wakens Fafner. Siegfried kills the dragon; when he pulls out his sword, his hand is splashed with blood. As he sucks it clean, he finds himself able to understand the woodbird, which tells him to take the ring and Tarnhelm from the hoard.
Mime and Alberich meet and quarrel, watching with horror as Siegfried emerges with the ring and Tarnhelm. The woodbird warns Siegfried of Mime’s intended treachery and when Mime offers him the drugged drink, he is able to understand Mime’s thoughts and strikes him dead. The woodbird tells Siegfried of a bride awaiting him on a rock surrounded by fire and he sets off, following the bird.
A wild spot at the foot of a mountain
The Wanderer summons the sleeping Erda, once more seeking the benefit of her wisdom, but she answers that she now knows nothing, suggesting first that he ask the Norns (fates) and then Brünnhilde. She is horrifed to learn about Brünnhilde’s punishment. The Wanderer then says that he has no need of her advice as he has decided to accept gladly the end of his power; he will leave the world to Siegfried, and Brünnhilde will perform the redeeming deed.
But when Siegfried appears, he is impatient to find yet another old man standing in his path. His youthful brashness arouses the Wanderer’s anger and as Siegfried tries to go past, he interposes his spear, pointing out that the sword Siegfried carries has already been shattered by it. Believing that he has found his father’s enemy, Siegfried breaks the spear with his sword.
The Wanderer withdraws, no longer able to oppose Siegfried, who climbs the mountain and passes through the ring of flame which surrounds Brünnhilde. After some hesitation he kisses her awake and she greets him ecstatically by name. At first, however, she shrinks from his embrace, reluctant to lose her divine powers, but eventually responds to his passion and they triumphantly proclaim their love.
[Synopsis Source: Opera~Opera]