06 Sep 2009
Aspen stages a Don to die for
“Can it be?”
“But it is; he looks just like him…”
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
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]’.
“Can it be?”
“But it is; he looks just like him…”
A gasp went up when the curtain rose on Mozart‘s Don Giovanni in Aspen’s intimate Wheeler Opera House on August 21. Even at close range the Don — tall, lean, handsome and black — was a dead ringer for Barack Obama. It was, of course, not the president of the United States doubling as the legendary lover, but Donavan Singletary, a current member of the Lindemann Young Artist Development Program at the Metropolitan Opera, who played the Don. Although there is no knowing how adeptly Singletary, already the winner of numerous awards and competitions, might deal with health care, he is — it seems safe to say — the greatest Giovanni to come along since Italy’s Cesare Siepi brought new dimensions of sensuality to the character in the 1950’s.
In erudite notes for this final Aspen Opera Theater production of the 2009 60th anniversary season of the Aspen Music Festival, Edward Berkeley, director both of the program and of this production, discussed Giovanni as the Greek god Dionysus returned to earth. “He’s life force,” Berkeley wrote. “His sensuality and his sex drive has such energy that the rest of this society feels it doesn’t have it’s own energy without Giovanni.” Unable to equal him, however, the others, who are what they are only through their relationship with him, must destroy the Don in order to continue their own trivial lives. Even if he is hauled off to Hell at the end of the opera, there’s clearly more to the story that librettist Lorenzo Da Ponte assembled for Mozart than the Sunday-school tale of a destructive wrong-doer justly punished.
For in Giovanni the audience confronts what Robert A. Johnson in his book Ecstasy called “the irrational wisdom of the senses.” It’s heady stuff, and Berkeley staged one of the best Giovannis ever seen anywhere. To do so, he answered a question open to debate since the opera was new in Prague in 1788: just what had happened in Donna Anna’s room before the drama begins on stage? She was raped, the director says, and that leaves her with feelings of guilt for her father’s death at the Don’s hands and yet irrevocably attracted to the rapist. Anna, in short, knows a good thing when she has experienced it and she knows that Don Ottavio, the aristocratic Milquetoast whom she is to marry, is no match for the Don.A scene from Don Giovanni
This view brings a tension to the opera lacking in less perceptive stagings, and in Aspen Berkeley had a cast of talented young singers to make his production exceptional. Singletary, equally fluent in voice and body language; moved and sang with an elegance that made him carnality incarnate — a force the equal of a hurricane before which everyday mortals bow their heads.
Yet even more perfect in Aspen was his servant Leporello, portrayed with breathtaking immediacy by Adam Paul Lau, now a graduate student at Rice University. Too often reduced to a merely comic character, Lau understood the serious side of Leporello, his disgust with his master’s devious way and — at the same time — the desire to be like him. He really is the Don’s double.
Yoosun Park and Rachel Sliker were ideally paired as Anna and Elvira, two women unable to turn their backs totally on the attraction of the Don. Sliker played an Elvira ever willing to forgive with a nervous edge that hinted of hysteria, while as Anna Park had her heart set on revenge. Her account of what happened in that crucial night — incomplete as it might have been in detail — was not mere narrative; it was a flesh-and-blood reliving of that fateful hour.
In appearance Aspen’s Ottavio Samuel Read Levine recalled the youthful Jussi Bjoerling; however, his voice, still badly in need of refining discipline, was far more robust than that of the late Swede. As the Commandatore, bass Paul An struck cosmic fear in the hearts of everyone in the Cemetery and final Banquet scenes. Adrian Rosas was a delightfully boyish Mazetto, and it was only Debra Stanley, his Zerlina, who fell below the across-the-board excellence of the cast. Already vocally too mature to be a peasant girl convincing in her innocence, as an actress Stanley took no cues from her colleagues.A scene from Don Giovanni
As conductor, James Gaffigan, since 2006 associate conductor of the San Francisco Symphony, showed all the markings of a major Mozartean, working with an ensemble that richly displayed the gifts of many Aspen student instrumentalists. Sets by John Kasarda and largely non-descript modern costumes by Marina Reti were functional and, staying out of the way of the music, allowed an interrupted flow of Giovanni’s many scenes. Most significant, however, was Berkeley’s telling of the story of this opera. Rather than answering all the questions about Giovanni, he confronted the audience with the fact that great art dwells in that abyss that lies between human aspiration and achievement. For Giovanni — not unlike his brothers Faust and Tristan — is a man out to know life to its fullest — usually, alas, at the expense of women. As ever-hungry and never-sated Dionysian man, the Don is shattered by the wall of limitations placed in his way by this thing called “reality.” Giovanni pays the price demanded by his many acts of hubris — and one regrets that that is the way things are in this world.
While the Aspen Opera Theater might be regarded primarily as a training program, it is much more than that. Indeed, this production exceeded by far the expectations that one brings to the country’s regional companies and, this — in turn — should prompt them to rethink the role they are too often content to play with yet another run-of-the-mill Carmen or Butterfly.
Finally, as the world this summer celebrates Marian Anderson’s historic 1939 concert at Lincoln Memorial one cheers the Aspen performance in which the first four people to appear on stage were one black and three Asians.