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!
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
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