12 May 2009
Verdi’s Requiem in Santa Fe
Christine Brewer Commands Performance in Last Minute Appearance
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
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