12 May 2009
Verdi’s Requiem in Santa Fe
Christine Brewer Commands Performance in Last Minute Appearance
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.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
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.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
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.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
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.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Christine Brewer Commands Performance in Last Minute Appearance
In celebration of its twenty-fifth anniversary the first week of May, the Santa Fe Symphony encountered unexpected drama in an attempt — ultimately successful — to present a festive performance of the Verdi Requiem.
First, soprano Kallen Esperian, after several days of rehearsal, came down with laryngitis and canceled Friday noon, with scheduled performances Saturday and Sunday.
Gregory W. Heltman, SFSO’s energetic founding director and manager, contacted General Director Charles MacKay at the Santa Fe Opera to see if his resources included a Verdi soprano on 24-hours’ notice. It so happened MacKay could help. He knew Christine Brewer, a veteran of many a Verdi Requiem, was at her home in suburban St. Louis recovering from a bad knee that kept her out of the Metropolitan Opera’s current Wagner’s Ring cycle. A quick telephone call, a fast favorable decision and the problem was solved. Almost.
Brewer’s plane from St. Louis Saturday morning was due at Albuquerque’s Sunport at 1:20 p.m., presumably allowing time enough to make the 60-mile drive to Santa Fe, check in the Eldorado Hotel, walk across the street to the Lensic Performing Arts Center for a few minutes of rehearsal before dressing for the 6 p.m. concert. But the plane, a victim of weather delays, did not put Brewer on the ground until 4:40, into the awaiting arms of the frantic symphony managers.
After a fast hour’s drive through the rain directly to the stage door of the Lensic in downtown Santa Fe, an intensely focused Brewer headed straight to her dressing room, unpacked her gown, accepted help with make-up, drank a liter of cool water, and was led on stage by conductor Stephen Smith, along with the three other soloists, at 6:40 pm. The audience was ready — they had been kept in place by a lecture and an award made to a venerable music educator.
Brewer looked composed and calm in a black silk gown with a colorful over-cape, and stood next to contralto Kathleen Clawson as if it were business-as-usual, which is about how it turned out, plus a little more. In January Brewer had sung, and recorded, Verdi’s great operatic requiem in England with Sir Colin Davis, and a month later repeated it with the St. Louis Symphony. She had it down cold, and her duets with Clawson were as well-honed as if she had been rehearsing all week. (“We listened to each other,” Clawson later said.) All the soloists’ ensemble work went beautifully, and the “Recordare” was radiant as the two women’s voices blended with rare elegance. Brewer’s fine-spun high tones, one of her great gifts, playing against Clawson’s mature, dark contralto provided an Aida moment, which is perhaps just what Verdi had in mind. Brewer was up to the dramatic requirements of the “Lachrymosa”, and triumphed in the “Libera me” with dramatic parlando outbursts, stunning fortes and ultimately a return to her trademark high pianissimi in the finale.
The last time SFSO essayed the Verdi Requiem was five years ago, the season of its twentieth anniversary, and at that time mezzo-soprano Clawson stood out as the predominant soloist. This year Brewer earned the honors, both for her last-minute effort to save the show, and her supremely refined and confident singing of the challenging soprano lines — pure opera, in effect, by the 19th C. Italian master of dramatic music theatre. Few sopranos I know combine Brewer’s strengths at present — exactly the qualities needed to make memorable this nameless operatic heroine. One has only to experience the “Libera me” as presented by a great dramatic singer to appreciate the generous measure of Brewer’s talent. This was Leonora or Amelia or Aida at her highest emotional pitch. Brewer’s unusually large physical size and a long-held preference for platform singing, will likely continue to keep her from performing staged Italian operatic repertory. Yet, her “Recordare” duet with the mellow Clawson left one yearning to hear these voices in Aida — a frequent point of reference for those who enjoy the Requiem.
Clawson showed a warm rather dark mezzo; if it did not project fully in the lowest register, her tone was plentiful and easy in the middle range and top. She was a worthy proponent of Verdi and partner to Brewer. The male side was a bit less impressive: Robert Bréault, whom I hear as a Britten-Vaughan Williams tenor, was a thorough professional even if his tonal qualities were not of Verdian stripe, and in the bass part Kevin Maynor was similarly earnest if lacking in thunder. Linda Rainey, who is ‘Ms. Choral Director’ of Northern New Mexico, had assembled various forces, the Santa Fe Men’s Camerata, Ken Knight, conductor, and her Santa Fe Women’s Ensemble, which along with the Symphony’s volunteer chorus comprised a group of a hundred singers that was well rehearsed by Rainey and responsive, if not of especially distinguished tonal quality.
Steven Smith, for a decade music director and conductor of SFSO, presented a good standard performance of the Verdi score. Smith has a solid background with the Eastman School and Cleveland Orchestra, and still combines duties in Cleveland with his symphonic concerts each season at Santa Fe, as well as musical direction at the Brevard Festival. We are not talking about a Toscanini fire-and-brimstone Verdi Requiem, rather an affecting and touching reading of the score, well beyond what one might expect to find in a small mountain city in the lower Rockies.
Santa Fe continues to surprise.
J. A. Van Sant © 2009