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Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
27 Jul 2009
An Evening at Père Lachaise [Or, Natalie Dessay Attempts Violetta]
A fine-sounding Santa Fe Opera orchestra, excellently conducted by Frédéric
Chaslin, was barely into the haunting, delicate prelude to Act I of La
traviata, when a funeral procession, wet umbrellas unfurled, arrived to
wend its way though a stage full of big grey marble rectangular boxes,
handsomely abstracted tomb shapes, soon to be the courtesan Violetta
Valéry’s destination. So much for the Prelude to Act I.
Saimir Pirgu (Alfredo)
During the intensely dramatic prelude to Act IV, anonymous stage figures in
half light, darted about draping the tombs with white shrouds preparing the
death scene of Violetta — so much for that essential orchestral moment;
again our attention had fled. For Flora Bervoix’s Act III party, the
weighty boxes, artfully arranged at varying heights, served as pedestals to
show off swaying party girls in lavish 20th century dancing gowns.
“Dancing on her grave?” Santa Fe’s new mounting of
Verdi’s opera, largely the work of a director Laurent Pelly’s
French team and the prima donna Natalie Dessay, seemed an evening at Père
Lachaise, almost literally, but Lachaise-manqué, transmogrified. The conceit
was interesting; many in the audience liked it and enjoyed its innovative
energy, yet it was, as we say, for its own sake — it added no new insight
into the old opera. It could also get in the way.
Laurent Naouri (Germont) & Natalie Dessay (Violetta)
Opinion divides on Mme. Dessay, as it usually will when coloraturas essay
Violetta’s essentially dramatic role. Through history, light-voiced divas
such as Galli-Curci, Lily Pons and Roberta Peters have tried and faded with the
fatal part. Deconstructively ruinous at Santa Fe was Dessay’s Act II
costume — dull, shapeless cotton slacks and a large man’s-style
white overshirt; barefoot. She was a 1960s hippie caught at home. The problem
was it robbed her of much dignity: and Violetta’s self-denying dignity is
key to the effect of this central act, with the two Germont men, each asking
her something different, and opposing. She is cruelly torn; it takes all her
resources to survive intact. By dressing her way down for the big confrontation
scenes, Dessay’s Violetta lost a lot of feminine stature and,
unintentionally I am sure, pushed her comic-seeming side; she looked raffish
and moved in an almost Carol Burnett way — all wrong. Producer Pelly got
this act badly off key. To do anything to defeminize Violetta is a grave
mistake. Violetta must be poignantly believable in Act II — or her show
does not fly, hélas!
The device of the graveyard underlying the whole opera seemed an over-kill,
ultimately a kind of director’s bad joke. Once again, where was dignity,
seriousness? La traviata is a mid-19th century tragic opera, with many
social overtones; it is most certainly to be taken seriously. But I did not
sense a lot of that with M. Pelly, though the performing artists worked hard.
Where was letting the music speak for itself (as in the two preludes mentioned
above)? Is it anything less than an affront to second-guess Giuseppe Verdi in
judging the effect of his music, and what it takes to put it over in theatrical
terms? Opera lovers will have their own views on this. In an interesting touch,
Père Germont was costumed and played as a 19th century figure, and that he
surely is; but Violetta is no less so, and to take her out of that cultural
milieu was counterproductive.
Natalie Dessay (Violetta)
Finally, Mme. Dessay is not a Violetta. As seen on the Santa Fe
stage, she is a little bird — in Act I a frantic, drunken little bird
with an orange wig and bright red and pink plumage; by the end she was a
plucked pullet flopping about the stage. Her voice does not have the dynamic or
tonal range to explore the full dimensions of Verdi’s music or
Violetta’s emotions; it is almost always the same color. She was wise to
sing both stanzas of “Addio del passato…” for a soft
pianissimo tone is her best asset just now, and she long held the aria’s
final p. high-A. A singular moment. I like Mme. Dessay a lot, and she’s
had a wonderful career, especially considering two throat surgeries and a
baritone husband. I think she has the spunk, but ultimately not enough vocal
resource to do justice to Verdi’s paragon soprano role. The surprise of
the evening was the excellence of Parisian baritone Laurent Naouri in the role
of Père Germont. His well-voiced traditional portrayal played strongly against
the eccentricity of the rest of the production; he showed vividly how this
wonderful opera should be treated. The young Alfredo was debut artist Saimir
Pirgu, an Albanian tenor with a pleasing voice and manner, graced by a nice
smile. In the latter stages of the opera he warmed to some beautiful soft-toned
J. A. Van Sant ©2009