Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

Cast announced for Bampton Classical Opera's 2017 production of Salieri's The School of Jealousy

Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

OPERA TODAY ARCHIVES »

Reviews

Kelly Kaduce as Salome shown with the head of Jokanaan [Photo by Ken Howard courtesy of Opera Theatre of Saint Louis]
03 Jul 2009

Summer Nights with the Stars — OTSL’s 2009 Season Shines

The success of Opera Theatre of St. Louis’ 2009 festival season reflects the intelligent leadership of both the previous triumvirate (Charles MacKay, Colin Graham, and Stephen Lord) and the new recruits Timothy O’Leary and James Robinson.

Giacomo Puccini: La bohème
Richard Strauss: Salome

Click here for cast of La bohème and other information

Click here for cast of Salome and other information

Above: Kelly Kaduce as Salome shown with the head of Jokanaan [Photo by Ken Howard courtesy of Opera Theatre of Saint Louis]

 

This strong season opened with a revival of Tim Ocel’s 2001 production of La Bohème. Puccini’s verismo masterpiece (seen on June 20) has become, as Ocel notes in the program, a ubiquitously recommended “first opera.” In fact, it does Ocel and his collaborators credit to state that I would not steer operatic initiates towards this Bohème. After all, who would introduce themselves to American cinema by watching a Robert Altman film? Ocel does such a wonderful job inspiring specific and beautiful performances from his entire cast that the simple story and famous melodies expand into an incredibly rich evening of theatre in which every shopgirl and supernumerary has a story. This is not a Bohème to be put on the kids’ menu. Rather, it is a production to be savoured.

11_MG_5922a.gifAlyson Cambridge as Mimi and Derek Taylor as Rodolfo [Photo by Ken Howard courtesy of Opera Theatre of Saint Louis]

Among the excellent ensemble cast, Alyson Cambridge was an extremely musical and insightful Mimi. Her radiant singing epitomized the transient beauty that Mimi herself represents; each note blossomed like the flowers opening in spring and it was absolutely charming to see a Mimi with a beautiful smile. When Mimi touches Rodolfo’s outstretched hand in the dark as they search for her key, Cambridge murmured a small “oh.” The simplicity and reality of the moment was perfect.

Derek Taylor, making his OTSL debut as Rodolfo, presented a less sympathetic but more realistic Bohemian than audiences may be accustomed to. In Act I, his Rodolfo’s youthful callowness justified the character’s later insecurity and possessiveness. The other Bohemians of the garret were each as strong individually as they were as an ensemble. Eugene Chan portrayed Schaunard as the baby of the group and a budding ladies’ man. Timothy Mix was strong as a Marcello with van Gogh’s coloring but, thankfully, not his temperament. Above all, Steven Humes as Colline stood out for the refinement in both his singing and acting. (Having also enjoyed Humes’ cameo as the Voice of the Pasha in The Ghosts of Versailles, I am currently of the opinion that even the most wonderful operas can be made even better by Humes’ presence onstage.)

Amanda Majeski’s Musetta sparkled in Act II, although the show-stopping quality associated with the character was lessened by the liveliness of Cambridge’s Mimi. In fact, Majeski and Cambridge represented the two young women as girls in very similar situations. Of all the cast, Majeski’s character arc (from her kittenish fit in Act II to her quiet spirituality in Act IV) most exemplified Ocel’s sentiment in his director’s notes — Bohemia isn’t a profession or a lifestyle. Rather, it is a period in a person’s life when the pipe dreams always outnumber the pennies until hunger or pain forces them to move on.

11_MG_5701a.gifL to R: Timothy Mix as Marcello, Derek Taylor as Rodolfo, Alyson Cambridge as Mimi, Eugene Chan as Schaunard, and Steven Humes as Colline [Photo by Ken Howard courtesy of Opera Theatre of Saint Louis]

Judging by the fun he was having in the pit, conductor Ari Pelto could’ve been cast as a fifth Bohemian. There was a slight misstep when the marcia at the end of Act II dissolved into semi-chaos for a moment. Overall, though, the payoff in the orchestra and onstage was a Bohème to remember equally for its spirited and tender moments. The changes in the production, including the elimination of a large moon in Act I, improved upon the 2001 iteration by making everything less theatrical and more realistic. Robert Denton’s lighting design occasionally clashed with the rest of the naturalistic production. During Act III, despite it being a wintry dawn, strong silhouettes were thrown across the Parisian backdrop.

The Act I moon in Bohème might’ve disappeared, but it returned as part of Paul Pallazo’s stunning lighting design for Salome (seen on June 24). Along with set and costume designer Bruno Schwengl, Pallazo created an ingenious design in which the mesmeric moon was reflected onto the floor center stage and the eye was lead to the back wall. There, a circular opening acted as the entrance to the cistern which, when moved for the entrance of Jokanaan, had an effect like that of an oculus.

11_MG_1319a.gifL to R: Amanda Majeski as Musetta, Timothy Mix as Marcello, Derek Taylor as Rodolfo, and Alyson Cambridge as Mimi [Photo by Ken Howard courtesy of Opera Theatre of Saint Louis]

Choreographer and director Seán Curran (assisted to some degree by dramaturg and “consulting director” James Robinson) used this semi-sterile environment as the playing space for Strauss’ fin-de-siècle psychodrama. As one would expect, the production included a ‘Dance of the Seven Veils’ par excellence. The dance was both realistically impromptu and well thought-out. Furthermore, the dance fit seamlessly into the modern-dress context of the production while also referencing the Biblical origins of the story. Each of the veils was used to unique and surprising effect, including one made of Latex. Palazzo’s lighting design became an intrinsic part of the choreography by multiplying shadows one moment and creating a seductive glow the next. The highest compliment I can pay is not to describe this ‘Dance of the Seven Veils’ in detail because its effect was transfixing and, ultimately, indescribable.

Of course, the success of the dance was largely due to Kelly Kaduce in the title role. She’s well known in St. Louis as a singing actress, but Kaduce’s Salome pushed the singer well into the realm of a triple threat. In a part that famously requires the singer to look 13 and sound 30, Kaduce fits the bill and would be an entirely believable Salome even in high-definition. Not only are her looks and singing thrilling, Kaduce’s acting reflects the psychology of Strauss’ score in captivating detail. In the moments after Jokanaan is put back into the cistern and before the party of Herod and Herodias enters, Kaduce sits downstage and transforms from a petulant teenager to a dangerous woman using only her face.

11_MG_8051a.gifL to R: Maria Zifchak as Herodias, Kelly Kaduce as Salome, and Michael Hayes as Herod [Photo by Ken Howard courtesy of Opera Theatre of Saint Louis]

Stephen Lord conducted Kaduce and the rest of the cast with his usual panache and verve. The supporting cast acted and sang with style. As Narraboth, Eric Margiore brought level-10 intensity to his role from the moment the lights went up. Maria Zifchak was vocally compelling but she portrayed Herodias more as Herod’s wife than as Salome’s mother. In order to create real tension, it needs to be obvious that Herodias is the ultimate cougar and not a nagging housewife. Then, the instant Herod rips jewels off the mother’s neck and passes them to her own daughter, the Oedipal rivalry between the generations of women becomes shockingly apparent. Zifchak could’ve sung the part with more of the sex appeal obviously at her disposal. Tenor Michael Hayes was perhaps too desperate too soon as Herod. Remember, Herod is a bigwig, a mover and a shaker, as well as a pretty cagey guy. The audience needs to see him in control at first in order to fully register the change when his horror and paranoia “unman” him. Gregory Dahl looked perfect as Jokanaan and sounded nearly as good. Among the featured Gerdine Young Artists, Zach Borichevsky (as the Third Jew) sang particularly well.

Overall, this Salome was a gripping production included in a particularly strong season at OTSL. During this year of transition, OTSL may not have given its audiences the moon, but it definitely brought out some stars.

Alison Moritz

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):