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!
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.
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