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!
Director Robert Carsen’s 2012 production of Verdi’s Falstaff, here revived by Christophe Gayral, might be subtitled ‘full of stuff’ or ‘stuffed full’: for it’s a veritable orgy of feasting from first to last - from Falstaff’s breakfast binge-in-bed to the final sumptuous wedding banquet.
If Strauss’s operas of the 1920s receive far too little performing attention, especially in the Anglosphere, those of the 1930s seem to fare worse still.
The 67th edition of the prestigious Festival d’Aix-en-Provence opened on July 2 with an explosive production of Handel’s Alcina followed the next night by an explosive production of Mozart’s Die Entführung aus dem Serail.
O/MODƏRNT is Swedish for ‘un/modern’. It is also the name of the festival — curated by artistic director Hugo Ticciati and held annually since 2011 at the Ulriksdal’s Palace Theatre, Confidencen — which aims to look back and celebrate the past ‘by exploring the relationships between the work of old composers and the artistic and intellectual creations of modern culture’.
Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels.
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
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