06 Sep 2009
Aspen stages a Don to die for
“Can it be?”
“But it is; he looks just like him…”
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).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
“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.