Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

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.

Nina Stemme's stunning Strauss Salome, BBC Proms London

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

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

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!

Dolora Zajick Premieres Composition

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.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

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’.

Il barbiere di Siviglia in Pesaro

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 in Pesaro

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 Presents an Imaginative Carmen

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.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

Mary Dunleavy (Constanze) and Matthew Polenzani (Belmonte) [Photo by Cory Weaver courtesy of San Francisco Opera]
13 Oct 2009

Abduction from the Seraglio in San Francisco

Some of the more memorable achievements of San Francisco Opera occurred in the brief life-span of its Spring Opera season, 1961-1981.

W. A Mozart: Abduction from the Seraglio

Constanze: Mary Dunleavy; Blonde: Anna Christy; Belmonte: Matthew Polenzani; Pedrillo: Andrew Bidlack; Osmin: Peter Rose / Andrea Silvestrelli (9/29); Pasha Selim: Charles Shaw Robinson. Conductor: Cornelius Meister / Giuseppe Finzi (10/17, 10/23). Director: Chas Rader-Shieber. Designer: David Zinn. Lighting Designer: Christopher Akerlind.

Above: Mary Dunleavy (Constanze) and Matthew Polenzani (Belmonte)

All photos by Cory Weaver courtesy of San Francisco Opera

 

This long ago April-May season embraced the lesser known and experimental repertory, premieres and advanced staging style looks at nearly anything that might be called opera.  And sung in English, the language of its audience.  Thus almost immediately (1962) Spring Opera gave San Francisco Mozart’s Abduction from the Seraglio — it readily qualified as lesser known, it was an experiment — Mozart’s own experiment into singspiel, and with its dependence on the spoken work it was not really opera.      

Spring Opera’s headier moments happened in its later years at the Broadway-style Curran Theatre, and among these moments again was Abduction (1975) this time in the hands of jack-of-all-theatre-trades Jack O’Brien (but that handle is now, back then it was his first, experimental foray into opera).  O’Brien’s first revelation was that Abduction was not about its story told in spoken words, it was about its music, thus he slashed its dialogues to the absolute bone, and let them sing.  One of Spring Opera’s slickest productions resulted.

BidRosTMC.gifAndrew Bidlack (Pedrillo) and Peter Rose (Osmin)

But these days Abduction is big-house stuff, not only in repertory weary San Francisco but around the world.  Just last March Lyric Opera of Chicago unveiled a new production of Die Entführung aus dem Serail that is currently on the War Memorial stage.  Only in Chicago the spiel was in German (well, there was one German in the cast) while in San Francisco the dialogues were mostly in American though the sing fortunately was in German — the one German in sight was a very important one, the young maestro Cornelius Meister.  This uncomfortable language duality left he ear confused.  It also gave rise to the trivial critical question as to whether Mozart's opera should have been entitled Entführung in San Francisco, or Abduction as preferred by the SFO program booklet.

But the answer is easy — it was an Entführung.   It all happened in the pit, the San Francisco Opera Orchestra rising magnificently to the occasion of the American debut of 29 year-old, wunderkind Cornelius Meister.  This fine orchestra responded to the warmth and to the joyous overflow of rare and new Mozartian colors imparted by the young German maestro, and played with a beauty of string tone that gave the evening (2/10) its considerable musical luster.   

Mozart’s simple singspiel has two monster roles, that of the abducted Constanze and her rescuer Belmonte.  Matthew Polenzani, an alumnus of Lyric Opera’s young artist program and now a highly credentialed Mozart singer, brought urgency, beauty of tone and perfect phrasing to the considerable amount of singing Mozart’s hero must accomplish.  Mary Dunleavy, a recent SFO Gilda, took on the fiendishly difficult Constanze and succeeded gracefully enough, appropriately displaying her quite beautiful voice, considerable technique and solid high notes in the opera’s grand soprano showpiece Martern aller Arten.

ChrMen_CW.gifAnna Christy (Blonde) and the Pasha's guards

Unfortunately Es lebe die Liebe, Mozart’s famous tour de force reunion quartet, did not succeed in musically uniting its four singers  —  though Anna Christy acquitted herself handsomely as Blonde throughout the evening, Adler Fellow Andrew Bidlack was over parted as Pedrillo, not yet a match for arrived artists.  Bass Peter Rose was a vocally pale Osmin, his smooth voice and soft presence an uncomfortable match to Mozart’s sharper buffo demands.  The Pasha of actor Charles Shaw Robinson made no effect.

While Mr. Rose’s Queen’s English inflected speeches were no more at odds with the character of the Turkish lecher Osmin than Hochdeutsch might have been, his Samurai wig was, as was his most fanciful Papageno-like costume, not to mention his retinue of little, bare chest Samurai eunuchs.  In fact one was not sure what was supposed to be happening on the Baroque stage within the War Memorial stage.

Accounts of the Chicago performances talk about an old Pasha who began imagining this episode of his lost youth during the overture, about a trap door that opened into the false stage where Belmonte then climbed out, and soon a young Pasha appeared as well, explaining that this was a performance within a performance.  None of this or anything else of the Chas Rader-Shieber Chicago concept made it to San Francisco.  What we saw in San Francisco was inexplicable.  

Besides Blonde’s jaunty yellow hat the quartet of lovers costumes were elaborately period, including Constanze’s wigs.  So it was costume opera, take it or leave it.  The crowd gamely took it, and applauded young Mozart’s Italianate attempt at singspiel that belonged in a much smaller theater, and cheered the appropriately attractive youthful cast and conductor. 

Michael Milenski

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):