12 May 2009
Verdi’s Requiem in Santa Fe
Christine Brewer Commands Performance in Last Minute Appearance
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
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