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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.
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.
03 Jul 2009
Porgy and Bess in San Francisco
For Americans of older generations Porgy and Bess is surely a primal experience, formed by the 1959 Otto Preminger film with Sammy Davis Jr. as Sportin’ Life, the audio recording derived from the 1952 London production with Leontyne Price as Bess, and a first encounter with Porgy and Bess as an opera in the artistically satisfying, and well traveled 1976 Houston production (was it twenty-five performances in the War Memorial Opera House?).
Maybe even some Americans were lucky enough to see the 1986 Glyndebourne production or its 1993 televised version, fabled as the best Porgy ever. Thus, with some help from its several Broadway-type attempts, the Gershwin Porgy has become a sing-along — we know every word and every note.
The San Francisco performances are a reprise of the 2005 Washington Opera production directed by Francesca Zambello, a production that has recently stopped off at the operas of Los Angeles and Chicago as well. Ms. Zambello is a noted director of large-scale opera, the Ring currently underway at the San Francisco and Washington operas, and War and Peace at the Seattle and Metropolitan operas, Billy Budd at Covent Garden as examples.
Mounting a Porgy is no small task, it has a huge cast, nine principal singers, sixteen named and solo roles that derive from an ensemble in San Francisco of forty-six [!] Black singers, not to mention three White speaking roles. Three (or more) fight scenes must be staged, plus three (or more) production numbers must be choreographed. It is scored for a full symphony orchestra that wails with the sonic abandon of big band. Can Porgy be crushed under its own weight?
The answer is an emphatic yes! Putting Porgy in the charge of a big time opera director, albeit a theatrically and operatically savvy one, magnified its weight, as did the absolute top operatic quality of its protagonists and ensemble singers (do not say chorus) placed in the hands of John DeMain, the world’s most experienced Porgy conductor. And all this thrust onto a major American opera stage where it is in de facto competition with the sophisticated operas of Benjamin Britten (maybe its closest foreign relative), not to mention the verismo of Puccini.
The end result of all this operatic know how simply lays bare the weaknesses of this Gershwin masterpiece. It does not know if it is an opera of sorts or a Broadway musical, and there is simply too much of it. Its original four hours were mercifully reduced to three hours fifteen minutes in this production, however its original two intermissions were reduced to one, making each of the two parts nearly an hour and a half. One might have preferred the longer version, but in three parts, i.e. a second pit stop. It was a long haul.
Chauncey Packer (Sportin’ Life) [Photo by Cory Weaver courtesy of San Francisco Opera]
The decision to unify its disparate stories and elements within the confines of a single unit set was a laudable, theatrically valid solution to objectify Gershwin’s well crafted dramatic structure, but it also brought visual boredom. The intimacy needed to make small scale, essentially jazz based vocals real was lost in the vast spaces of the omnipresent two level Catfish Row with a monumental warehouse door stage left (Jake’s fishing boat was pushed in and out from here as was the interior of Porgy’s hovel). Several extraordinary moments though stand out in this generally solid staging, the Kittiwah Island departure as one example, the hurricane, and particularly the moment when Bess, high on heroin is seduced by Sportin’ Life.
Strangely moving was the sense that Gershwin’s Blacks, the 1930’s Blacks, have become not only mainstream American culture but are fully realized performers of international musical arts, led in opera by some of our greatest Porgy interpreters, like Willard White (the Glyndebourne Porgy) and a host of others. The cast for the San Francisco production gave convincing if not definitive performances, led by the Porgy of baritone Eric Owens who bestowed elegant phrasing onto Gershwin’s lines. Laquita Mitchell gave a moving and real performance, vocally and physically, as Bess. Once past mourning Sammy Davis, Jr., Chauncey Packer delivered the goods as Sportin’ Life. We wanted more physical and sexual charisma from the Crown played by Lester Lynch, and in general more distinct personalities from the other principal singers as well.
The underpinnings of Porgy are humble. It is an intimate, uncomplicated story of love and lust in an ambience of poverty well known to operatic verismo, though in Porgy there are no issues, no complaint of injustice, no philosophic formulation of fate, and finally only desperate hope. It can be and is everyone’s story at distinct moments in human history. The challenge is to create an atmosphere for this humility in what is, pure and simple, an extravagant art form, and it was here that this production failed.
The copyright for this American operatic masterpiece (who cares if it has short comings, and is not really stage worthy, at least in this version) expires in 2012. The iron fist exercised by the Gershwin family over its productions will relax, the stiff royalty fees will no longer inhibit production, the insistence that its actors be black and that its locales be specific will no longer hold. Producers will be able to experiment with making this document of main-stream American culture (hardly Black-American culture) into viable theater.
Click here for a photo gallery of this production.