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On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
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.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
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]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
12 May 2009
Subtle Previn world premiere in Houston
As far as world premieres go, Houston Grand Opera is in elite company in the United States, having performed thirty-eight new works prior to opening night of André Previn’s new opera Brief Encounter.
Where the German-American composer’s oeuvre will rank among the other thirty eight remains to be seen, but its subtly gives it a shot at longevity its predecessors didn’t enjoy.
Based jointly on the Noël Coward play Still Life and the 1945 film from which the opera took its title, Brief Encounter is a simple story. Two married parents, Laura (soprano Elizabeth Futral) and Alec (baritone Nathan Gunn) run into each other in a train station. Since Laura makes a trip to the city where Alec works once a week, the pair fortuitously find each other several times and develop an infatuation that turns into an affair. Both struggle with the moral implications of their relationship, and Fred, Laura’s loving yet aloof husband (sung by bass-baritone Kim Josephson) remains ignorant to her deception. Ultimately, the couple ends the fling for their families’ sake, not for a lack of mutual desire.
As theater, Brief Encounter didn’t qualify as compelling drama. The story began in an anachronistic fashion, amid the final goodbyes after the couple ended the affair—Laura then told the story of what preceded the farewell. Yet after the two hour opera finished and the story was recounted, nothing really had happened. Part of the problem is that no one cared about their affair—the only “risk” the couple faced was their own internal strife. Once Fred sensed something different in Laura, the opera was almost over and Laura had long since decided not to continue the affair. Over the course of the performance, the lovers talked about themselves, talked about their affair, talked about their families, kissed once, and then talked some more. Despite all this talking, the characters weren’t developed—they seemed only to have relevant existences within the context of the affair. John Caird’s odd libretto didn’t help much, seeming at times more like a movie script than an operatic text: on more than one occasion Previn’s music leaned towards a deliberate, romantic sound while the lovers sang verbose, chatty lines. Caird also ended several scenes with trite, pithy emotional outbursts that watered down any real sentiments the characters expressed.
Previn’s occasionally dense instrumental orchestration firmly fits in the through-composed film score tradition of the 1940s and 1950s. The German-American composer utilized a litany of styles in this mostly tonal opera, none of which overpowered the others. The vocal line, however, was more difficult to categorize. Futral had several ariosi where she showed soaring fortissimi and dramatic pathos, yet in other sections (notably her scenes with Gunn), the vocal construction resembled very light musical theater composition. Previn’s score included much swelling in the strings with very little release, mirroring the events on stage. In the end, the orchestra served a bel canto function of supporting the singers without drowning them out or drawing attention away from their lines. It would be difficult to pinpoint any outstanding suites or excerptable arias, but in the end that may very well be how Previn sees the story. Not a lot happens in Brief Encounter, musically or dramatically. Alec and Laura are restrained, always bordering on allowing themselves to give in to their desires. A score that somehow indicated a world that contradicted their own would be confusing. Theirs is a subtle environment—a world of coming home to children and spouses with little to no excitement, just steady presences. The steady presence of Previn’s orchestration mirrors this reality throughout the opera.
Laura (Elizabeth Futral) and Fred (Kim Josephson) [Felix Sanchez, Courtesy of Houston Grand Opera]
Futral as Laura gave a splendid performance, although she pushed during some of her heavier sections. Nathan Gunn’s Alec was not seductive vocally or theatrically—he was a regular man in love with a regular woman. At times out of place in large scale works, Gunn disproved any critics by giving a smooth, clear performance that never resorted to blustering. Despite the strange vocal lines, credit should go to Previn for knowing the strengths of these two main characters. Bass-baritone Kim Josephson was a steady presence as Laura’s husband, Fred, providing a more mature voice that contrasted well with Gunn’s lighter baritone. Meredith Arwady as Myrtle Bagot showed a shockingly deep and dark contralto, almost so dark at times as to lose clarity. All cast members could have worked a little more on their English diction, though. The confusing half-American-half-English accents resulted in more than several indistinguishable phrases. Music director Patrick Summers led an appropriately restrained performance and showed much deference to Previn during the curtain calls.
The most innovation was shown by the direction and design team of John Caird (who directed in addition to writing the libretto), Bunny Christie (set/costumes), and Paul Pyant (lighting). The train station where Alec and Laura first meet served as the backdrop for the rest of the production, with elegant, seamless sets dropping in from above to create Laura’s home, a public plaza, a boathouse, and a riverbank. Extensive use of fog kept the train station theme present, and (very loud) dry ice machines created a believable river setting. Christie’s assignment was not easy—over eight scenes in the eighty minute first act alone—but his scene changes were fast, credible, and not distracting. Pre-war furniture and costumes were utilized well, inculcating the subtle lives led by the characters. Nothing stood out, but that was the point—these stories could happen to anyone, anywhere.
Brief Encounter isn’t the next great American opera. It is, above all, a subtle work that serves as a snapshot of the lives of two everyday people. The fact that it doesn’t resort to heavy drama makes it somehow more relevant, though, and Previn’s orchestration underscores this fact. Opera can be subtle, and so can the stories the art form relates. Brief Encounter gets that point across, to an overall positive effect.