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Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
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.
04 Oct 2009
Il trovatore in San Francisco
SFO general director David Gockley has a mania for developing new audiences — last year The Bonesetter’s Daughter was aimed at enticing the Asian American community into the opera house, and Porgy and Bess encouraged the African American community to cross the threshold.
This fall season, besides programming only composers and operas that everyone has heard of, he seems to have targeted two other rather large groups — those who would not be caught dead in an opera house and those who are hard of hearing.
Verdi’s blockbuster Il trovatore opened the SFO fall season on September 11. The War Memorial’s familiar gold curtain flew out to reveal the production’s show curtain, a detail of one of Goya’s Disasters of War etchings, dampening the festive mood of the inauguration of the company’s eighty-seventh season. The Met and Chicago Lyric had conspired with San Francisco Opera to create this new production of Verdi’s first mega-opera. We can hope that it will not end up in SFO’s warehouse to be revived every five or six years, or ever again.
Verdi blockbusters are not fodder for little league opera. The great big San Francisco Opera had the goods. A big style, knock-em dead, real Italian conductor Nicola Luisotti, the company’s incoming music director; a real Italian tenor, Marco Berti (a recipient of the Giuseppe Verdi Gold Metal), Sondra Radvanovsky, an American soprano who brings real push to “spinto;” the mezzo Stephanie Blythe, Musical America’s (the major trade publication) current Singer of the Year; and Dimitri Hvorostovsky (who needs no introduction) as the Count di Luna. It was a lively contest as to who could sing louder, clearly at the urging of the maestro. It was loud, very loud.
The most beautiful singing of the evening came from Hvorostovsky in the second act reverie of his love for Leonora, though the effect was betrayed by the maestro who too aggressively drove Verdi’s delicate orchestration. Stephanie Blythe heaved the rantings of Azucena from her chest throughout the evening, leaving her vocally exhausted at the end, and arousing our concern for her on-going vocal health. Mme. Radvanovsky was busy with strange operatic acting accompanying her impressively goosed up, later in the evening bleating vocal production, evoking concerns for her eventual vocal health as well. Marco Berti squarely hit the high C (though not for very long) in Di quella pira, actually a high B as the whole aria had been transposed down to accommodate this show-off high note infamously interpolated by tenors.
At the September 25 performance many of the audience rose to their feet when Azucena appeared for her bow, then the balance stood when Hvorostovsky took the next bow (Azucena had just sung her guts out in the final trio while the Count di Luna merely looked on, one might have thought she would have taken the later bows in turn with Leonora and Manrico). Then la Radvanovsky got huge, the hugest applause, probably because she had the softer, prettier arias, followed by the title role, Manrico, who was well appreciated as the most genuine performance of the evening (no one expects sincerity from a tenor, so its lack was not a problem).
Scottish stage director David McVicar got the whole thing wrong. Il trovatore is not about infanticide or bloody revenge (or Napoleonic wars), it is about singing. Famously victimized as a bad libretto Il trovatore is a succession of set pieces that tell what has happened over a thirty year period. There is very little in Il trovatore of what is actually happening at the moment. Each of its eight scenes needs a specific mood to be set within which the story-telling takes place, and it was any attempt to create these moods that this production lacked. Unfortunately this led to a painful absence of poetry in this musically and theatrically over-blown production.
McVicar, as a good director thinks he should, attempted to make a dramatic whole, over-laying a larger mood or concept — the horrors of the Napoleonic wars. Il trovatore is far less than a national or social tragedy, and these larger horrors were quite pale, indeed unnoticeable beside the vicious personal dramas of Verdi’s characters. To the hopeless task of imposing a dramatic unity McVicars and his designer Charles Edwards developed a revolving set that could instantly move from one locale to another, one story to another, with no time for the Verdi’s moods to dissipate and then radically transform themselves. Put this together with the pushed-to-the-hilt conducting of Luisotti and it became opera that hit below the belt.
The performance on September 19 was beamed simultaneously to the digital scoreboard of AT&T ball park where a reported twenty-five thousand people converged to participate in this contest of who could sing loudest. More than opera, Opera at the Ball Park is a San Francisco happening that entices just about everyone to join in the sport of opera, if not the art of opera.