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

Così fan tutte at Covent Garden

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.

Plácido Domingo as Macbeth, LA Opera

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.

The Rake’s Progress: an Opera for Our Time

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.

Classical Opera: Haydn's La canterina

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.

Dream of the Red Chamber in San Francisco

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.

San Diego Opera Opens with Recital by Piotr Beczala

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.

Andrea Chénier at San Francisco Opera

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).

A rousing I due Foscari at the Concertgebouw

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.

A double dose of Don Quixote at the Wigmore Hall

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: A double bill of divine comedies

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.

Mahler’s Second, Concertgebouw

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.

Mad About San Jose’s Lucia

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.

ROH, Norma

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.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

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.

Der Freischütz at Unter den Linden

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.

Prom 74: Verdi's Requiem

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.

British Youth Opera: English Eccentrics

“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.”

Prom 68: a wonderful Semiramide

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.

Double Bill by Oper am Rhein

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.

OPERA TODAY ARCHIVES »

Reviews

Lucas Meachem as Don Giovanni [Photo by Ken Howard courtesy of Santa Fe Opera]
17 Aug 2009

Mozart and Gluck — Mixed Results at Santa Fe

It is never easy to revive a success. Audiences will remember the first run of a show and consciously or not, compare a revival with earlier favorable impressions.

Mozart and Gluck — Mixed Results at Santa Fe

Click here for information regarding Don Giovanni

Click here for information regarding Alceste

Above: Lucas Meachem as Don Giovanni

All photos by Ken Howard courtesy of Santa Fe Opera

 

So it was with Santa Fe’s current Don Giovanni, which premiered in 2004 under the musical direction of Alan Gilbert with a stylish mise-en-scène and direction by the team of Zinn/Rader-Shieber, and a thoroughly first-rate cast.

This summer Don Giovanni is sharply different, and the problem starts with musical direction of Lawrence Renes, a young conductor from the Netherlands, who does not seem ready to conduct Mozart’s masterpiece. Success was also attenuated by a young lightweight cast, which had little chemistry as an ensemble, and few adequate voices. I am not one to linger over negatives, but some points need to be made. Renes was all motion and nervous energy on the podium, giving cues where none were needed, ignoring shape and elegance, elements that virtually define Don Giovanni. He spent much time shushing the orchestra, probably in favor of a small-voiced cast; too much energy was lost in the process. His tempo for the Champagne Aria was excellent, likewise the Act II Serenade; but like much of the rest of the score, he treated them as isolated events. Missing were both over-all sweep and sufficiently defined details of inner voices of the orchestra that create the aural excitement of this seminal Mozart. Bottom line: de-energized, boring music making, in spite of much fuss and feathers.

SantaFe_0080.gifSusanna Phillips (Donna Elvira) & Matthew Rose (Leporello)

This translated over the footlights to the stage, where little style and at times almost amateurish performances were evident. Lucas Meachem cast as a swaggering Don, did not swagger — histrionically or vocally. He has a pleasant, if mild musical comedy baritone that most of the time could not be heard; he offered minimal physical style, and little ‘edge’ for a man who likes to conquer women “just for the sake of the list,” (in Santa Fe’s translation): one was much puzzled that he was cast by Santa Fe. The same was true of the vocally lightweight, histrionically shallow Leporello of Matthew Rose, a young singer not yet suited to the big leagues, at least not on this occasion.

SantaFe_1049.gifKate Lindsey (Zerlina) and Corey McKern (Masetto)

The pretty Zerlina of Kate Lindsey was too slight of voice and something of a vamp, in a role that usually is more demure. In “Vedrai carino” she began her aria of consolation far from the battered Masetto, and slithered slowly, erotically across the wide stage, exposing and caressing her legs in what amounted to a vulgar re-seduction of her battered groom. The aria was all about her, not about comfort for him. This was likely not Lindsey’s doing — the discredit belonging to director Chas. Rader-Shieber, who seemed often inattentive to details in his revival production. It should be noted the Masetto of Corey McKern was well-enough sung and played, one of the stronger performances among lead singers.

Charles Workman was a competent Ottavio — his voice even-toned and pleasant, but as a player he was Clark Kent without benefit of telephone booth. His movements were stiff and clichéd, his two arias no more than well-routined.

SantaFe_1322.gifElza van den Heever (Donna Anna) and Charles Workman (Don Ottavio)

The news gets better with Donna Elvira and Donna Anna. Susanna Phillips is a proven good thing as a Mozart singer and she again made her marks with the opera’s most interesting character, the oft-betrayed Elvira. Phillips’ generous warm soprano easily dispatched the coloratura demands of the role, while her lyric singing was full-bodied and projected well. Perhaps not the greatest actor, she nonetheless was in the spirit of her role and commanded her music and all her scenes; most important, she could be heard! Elza van den Heever, the South African-born, San Francisco-trained ‘baby dramatic soprano’ (as she is called), turned in an intense, driven and rather unsympathetic Donna Anna — often powerful, with a hard-edged bright soprano that mined every note Mozart gave her. But the voice is dynamically uneven, swinging from loud to soft, with awkward transitions. Her tonal quality can be steely, and is rarely warm or especially attractive, yet with further refinement she could be a useful singer in the right roles, as she seems to possess good basic talent. At present van den Heever is house soprano in a major German company, an experience that may be beneficial. She is worth keeping an eye on.

Over-all the red-tinted production, which offers engaging play among many hues and tones of crimson — bright, outraged fuchsia for Elvira, black figurations with somber maroon for Anna — even red tinted trees, walls and windows, still surprises and offers favorable flow and good logistics. With improved musical direction, and a more mature cast, Santa Fe’s Don might recapture former glories.


Christophe Willibald Gluck’s 1776 French-language version of Alceste, the story of a self-sacrificing Thessalonian queen who would give her life for her husband’s, rises or falls on two factors: Dancing and strong dramatic soprano singing of the title role. Santa Fe had both.

_MG_3986.gifPaul Groves (Admète) & Christine Brewer (Alceste)

As the queen, Christine Brewer sang with powerful, often glowing tone, commanding a strong top register with unique richness in the mid and lower ranges — qualities that make an ideal voice for a part that is both feminine and heroic. As might be imagined, Alceste is not easy to portray on stage, and Gluck was not, frankly, much of a dramatist, though among the greatest of musicians and composers. Act I is largely lament for the dying king; Act II is lamentation for the dying queen, and Act III is about both, then with a happy quick ending due to the beneficent intervention of legendary strongman Hercules and the god Apollo. The story is a compound of ancient Greek myth and legends, later made into a tragedy by Euripides, then further compounded into a drama for 18th-Century audiences by Gluck’s librettist Calzabigi. It is the work of many hands and seems it. Fortunately the glorious music unifies all into a musical whole, if not dramatic success — it is simply too repetitious.

_MG_7612.gifTom Corbeil (The Infernal God)

Since Alceste is a stand-about opera, what do you do but dance! Santa Fe brought in a wizardly choreographer and solo dancer from Spain, one Ana Yepes, a tiny woman who twirls and whirls onto the stage with a troupe of seven dancers, and also some choreographed chorus members and even a dancing tenor or two, and stirs up a delightful mélange of movement, motion and gesture, representing — well, whatever you want: the divinities of Hell, the local folk observing the antics of royalty and gods, the moods of the characters and their music, even at one point a little swaying audience of dancing figures for the second verse of Alceste’s mighty defiance aria, “Divinités du Styx,” sung with thrilling power and musical accent by Mme. Brewer. Many a singer would not have allowed that distraction during her principal aria.

_MG_7548.gifChristine Brewer (Alceste), Paul Groves (Admète) & Wayne Tigges (Hercule)

What did it all look like? It is not easy to say — the Queen and her King Admète (handsome, musically stylish tenor Paul Groves), were in either stately robes or classic Greek attire; the chorus in non-descript low colored robes, save for the ones that danced who had a touch of color, and the dancers themselves in what I would call ‘comic-book gothic,’ close fitting garb, though another observer offered terms such as ‘Buck Rogers’ or ‘outer-space.’ Apollo was in gold, a bully Hercule showed a lot of skin, and stately Mme. Brewer, fortunately, kept her dignity while grieving mightily for her ailing husband in Act I, and herself in Act II. Happily in the final scene she showed us a beautiful radiant smile.

_MG_6994.gifMatthew Morris (Apollo) & Ana Yepes (Dancer)

The imaginative stage director Francisco Negrin had the audience looking into what could have been the open end of a stage-sized cornucopia, or perhaps a horn of plenty, which curved into to a vanishing point and was sometimes blue, sometimes white — impressionistic and useful as generalized background, with a large ovoid shape, cracked open in the middle and glowing red therefrom, that appeared now and then. An oracular site? The gate to Hell? Google is no help! What really counted was the emotional effect of the music and singing, and here the proponents were strong and convincing. One will not soon forget the beauty and expressivity of the dramatic soprano’s tones in her various arias; nor of the well-modulated chorus; or the orchestra’s elegant playing, so balanced and refined under conductor Kenneth Montgomery, Santa Fe’s long-time and admirable resident classicist. A beautiful, if basically boring opera, well achieved.

J. A. Van Sant © 2009

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):