01 Aug 2009
‘Opera Noir’ Entertains at Santa Fe
Can a famously successful movie be made into an effective opera? A quick answer is: yes!
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
Can a famously successful movie be made into an effective opera? A quick answer is: yes!
Santa Fe Opera has made it happen with William Wyler’s 1940 motion picture, The Letter based on Somerset Maugham’s 1920s short story and play, and now an opera. It may well be the sleeper of the Santa Fe season, unusual for a newly commissioned opera.
Within a dark toned sparsely furnished residential stage set, four collapsing palm trees grimly lowering in the background of a hot and smelly Malay rubber plantation house, a bored housewife is carrying on a torrid affair with a local dandy, her often absent and somewhat dull husband unaware. In the Wyler movie, the main feature of which is Bette Davis as Leslie Crosbie the erring wife, moments after the show opens we hear gunfire as her lover Geoff Hammond staggers across the verandah, Leslie emptying her six-shooter into him in a jealous rage. Bette Davis did it with fervor, and believe me, Santa Fe’s soprano Patricia Racette does the deed with equal vehemence. We were off to a strong start, and the intensity rarely lets up over the 100-minute opera.
Anthony Michaels-Moore (Robert Crosbie) and James Maddalena (Howard Joyce)
The Santa Fe team, led by composer Paul Moravec with librettist Terry Teachout, musical director Patrick Summers and stage director Jonathan Kent, took a chance patterning their new opera so closely on the ‘noir’ qualities of old movies, but that was exactly the tone they wanted to establish for this sordid little story, and they got it right. Even more successful is the musical score by Paul Moravec, a professor of music at Adelphi University. Worry not, this is no academician’s tepid exercise — it’s a rip-snorting adventure in high-class movie music with the likes of Bernard Herrmann, Eric Korngold and Max Steiner hovering in the background. Moravec’s music is fluent and beautifully orchestrated. The tonal score is through-composed, no pauses for arias or set pieces aside from brief moments, with a good sense of storytelling and excitement resulting.
It turns out Moravec, in his first opera, is a wise and able theatre composer who knows to keep his orchestra subdued for key passages of exposition and musical dialogue, but can unleash his violins and woodwinds in romantic mood music to evoke the sweeping “love me forever passages” of Leslie and Geoff’s affair. Don’t laugh, but when it comes to writing music and vocal lines that can narrate and sustain mood, Moravec impressed me as having it all over the cognoscenti’s current darlings, Kaija Saariaho or Osvaldo Golijov, also lately heard in new works at Santa Fe. Sometimes it feels good just to get down to storytelling without trying to make musical history.James Maddalena (Howard Joyce), Mika Shigematsu (A Chinese Woman) and Rodell Rosel (Ong Chi Seng)
Meanwhile, back at the plantation, Leslie has been caught out not only in her affair with Goeff, but his murder as well. Once she discovered Geoff was through with her, preferring his new Chinese mistress, Leslie popped him off, a woman scorned. But that’s not all: her husband Robert has to come up with a lot of cash to buy back a letter Leslie stupidly wrote to Geoff inviting him over the night she shot him, a piece of evidence that would convict the lady. The letter fell into the hands of Geoff’s mistress, and now the Chinese woman wants to cash in. Of course it will ruin husband Robert Crosbie, played and sung with great effectiveness by Anthony Michaels-Moore, using his life’s savings to redeem his adulteress wife. Sticky, eh?
Roger Honeywell (Geoff Hammond)
Coming to the rescue is Howard Joyce, Robert’s lawyer friend, who manages to buy and repress the letter, and convince a Singapore British jury to let Leslie off, claiming she was the victim of Geoff’s violent attempt to rape her. The one-act opera ends in a big mess, romance gone, careers compromised, and then in a coupe-de-theatre, Leslie takes matters into her own hands and resolves her dilemma. I’ll not reveal the quick denouement.
Ms. Racette, Michaels-Moore, James Maddalena as the lawyer, and assorted secondary role singers could not have been any better. Roger Honeywell, Rodell Rosel and Keith Jameson, all tenors, played key parts in the show’s success, with the Santa Fe Opera orchestra and conductor Patrick Summers wonderfully effective in their central role. Patricia Racette is a marvel; her full lyric soprano voice is in solid shape, used with skill and much dramatic effect. She has an expressive face, and is an actor of the first order. It was a pleasure to encounter her strengths in this prima donna role. For now, she owns the part. Others will soon want to.
The Letter may to some degree be a work in progress; it seems fairly well finished, if a few minutes too long. The intensity of the Maupassant-esque plotting with all its ironies is well maintained, with good rhythm and tempo, rhetorically and musically. But in a departure from Maugham and Wyler, Morevec added a short scene in which the Chinese woman (the fine Japanese mezzo Mika Shigematsu), comes to the lawyer to deliver the letter and collect her cash. Unfortunately she is given not only a voice in the proceedings with a short aria, but brings up issues that only obfuscate and delay. I hope the authors will rethink that scene. Much effect was gained by Wyler in keeping his mysterious Chinese woman quiet — a strong presence but generalized. There can be too many ‘specifics,’ sometimes in dramatic plotting, and The Letter has a few. In the main it is unusually engaging, well-paced entertainment, handsomely performed.
J. A. Van Sant ©2009