29 Jan 2010
Lyric Opera of Chicago’s The Merry Widow
Melodic and scenic gaiety predominates in Lyric Opera of Chicago’s new production of Franz Lehár’s The Merry Widow.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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?
Melodic and scenic gaiety predominates in Lyric Opera of Chicago’s new production of Franz Lehár’s The Merry Widow.
Paris in the opening years of the twentieth century is evoked in shifting venues from the Petrovenian embassy in Act I to the widow’s mansion and to Maxim’s in Acts II and III. The widow Hannah Glawari is sung by Elizabeth Futral in a performance ranging from touching sentimentality to lyrical purity and joyous sparkle in duets and ensembles. Her suitor from the past, Count Danilo Danilovich, as portrayed by Roger Honeywell moves convincingly from the pleasure-seeking rake to the man who still loves Hannah despite circumstances that interrupted their earlier courtship. A secondary romantic involvement is pursued between the married Valencienne and her admirer Camille de Rosillon, sung and acted plaintively in this production by Andriana Chuchman and Stephen Costello respectively. A large supporting cast is drawn into the comedic and wistful resolution of Hannah’s fortunes and amorous interests.
Paul La Rosa, Elizabeth Futral and David Portillo
After a spirited orchestral introduction led by conductor Emannuel Villaume the first act of Lehár’s operetta introduces both celebration and conflict. This scene, as staged in Lyric Opera’s new production, communicates an appropriate amount of business, replete with arrivals, wooing, and worries over the homeland. Baron Zeta broaches this latter topic by accepting congratulations in behalf of the Petrovenian head of state while at once lamenting the precarious financial issues of the homeland. In his portrayal of Zeta, Dale Travis assumes a Central European accent and delivers an effective mix of enthusiasm and anguish. After summarizing the economic concerns, he insists that the recently widowed Hanna Glawari must remarry a Petrovenian citizen so that her inheritance might remain in the domestic treasury. During Zeta’s distracted narration of such details his wife Valencienne is subjected to the repeated attentions of the nobleman Camille de Rosillon. Although obviously flattered by these advances, Valencienne expresses her irritation when Camille writes “I love you” on her fan. In the duet “Listen please” Valencienne reminds him of her intentions to remain faithful to her husband Zeta and suggests that he marry another. Chuchman and Costello fulfill the individual roles of Valencienne and Camille admirably yet their vocal and dramatic talents seem transformed to a still higher level when they sing together. In this first duet they epitomize the conflicts of love and duty as their voices blend to communicate a convincing emotional fervor.
Stephen Costello and Andriana Chuchman
Once the young couple leaves, the widow Hanna Glawari appears, trying to deflect the repeated attempts at adulation from men who wish to curry her favor. In her first aria (“Gentlemen, how kind”) Ms. Futral strikes a balance between a woman who demonstrates a vocally receptive sense of being flattered and the realistic widow who suspects any suitor of opportunism. As Hanna, for the present, leaves and repeated calls for Danilo’s needed presence are sounded (“Affluent widows double in charm”), the bachelor enters a near-empty stage. While staggering in apparent inebriation from the top of a staircase Roger Honeywell portrays Danilo not so much as dissolute but rather as one avoiding the confrontation of daily responsibility by losing himself in the swirl of activity at Maxim’s. In his aria “Oh, Fatherland” Honeywell muses with wistfulness on the duties of a minor nobleman that he fulfills for his country, but activities of the evening cause a suspension of the sense of homeland. When Hanna reenters she finds Danilo, in utter exhaustion, asleep on a divan. Ms Futral attempts to mask the surprise of Hanna, just as Mr. Honeywell’s Danilo can only appear confused while he recovers his composure. A renewed attraction between the principals, interrupted by the realities of an earlier, societal marriage, is evident for a moment before distance again sets in. Danilo insists that he will never express love for Hanna, while others vie for a dance with the widow. When she suggests such a dance with Danilo, he offers it to any other man for 10000 francs. Hanna is incensed and Danilo seems, at first, resolved in his sullenness. Yet Honeywell shows his character softening, and both agree finally to the proposed dance. As the act concludes Hanna and Danilo, as portrayed here, seem temporarily reconciled, if only for the evening, in a dance and song that bears a glimmer of more for the future.
In Act II of the operetta the action takes place in the garden of the widow’s Parisian home. Hungarian dances are performed first to celebrate the ruler’s natal day: in Lyric Opera’s production both colorful costumes and skillful choreography assure a lively introduction to the celebration. As an extension of these festivities the widow sings the traditional Hungarian song of the vilja. Ms. Futral performed the justly famous song of the wood-sprite, or vilja, with moving emotional force. As she described the feelings of the huntsman who becomes enamored of the sprite in the forest, Ms. Futral’s character itself seemed to bloom, so that buried emotions could again be kindled. A further encounter with Danilo, who arrives to participate in the widow’s reception, contributes to renewed confusion and bruised emotions, with both characters stomping away in opposite directions. The scene is then left to the naïve pair Valencienne and Camille, who both avail themselves of the solitude to discuss openly the state of their love. Despite the protestations of Valencienne, Camille serenades her with the aria “Just as the rosebud blossoms in the light of May.” Mr. Costello flourished here as an ardent lover in the solo aria in which his vocal modulations and use of legato were especially well received. The two withdraw into the garden’s pavilion in time for Valencienne’s husband Zeta to return and peer curiously into the enclosure. Although he at first believes that he sees his wife with Camille, Hanna changes places with Valencienne in order to save her reputation. The widow and Camille emerge from the pavilion declaring their intention to marry, an announcement which confuses Zeta and irritates even further Danilo. Mr. Honeywell gave convincing expression to his pique in the aria “Fall in love often,” as he rushed off at the close of the act to console himself in diversion at Maxim’s.
Roger Honeywell and Elizabeth Futral
It is indeed here at Maxim’s that the numerous conflicts and emotional tensions are ultimately settled during Act III of the operetta. After the mood is set by an orchestral introduction including strains from the “Merry Widow Waltz,” we see the various girls of the club along with Valencienne dancing to entertain Danilo. Further communication from the homeland prompts the widow to admit that she never intended marriage to Camille and that her motives consisted in the protection of another woman’s honor. At this Danilo admits his love for Hanna, and they sing the duet “Strings are sighing.” Futral and Honeywell express their bond, leading eventually to the consent of marriage, in touching unison as they conclude aptly on the lines “We’ve gone soaring to the heights” and “It’s you I love alone!” Only the breach between Valencienne and Zeta must be repaired. When the jealous husband discovers the fan on which Camille had written of his love, Valencienne convinces Zeta to read the declaration on the reverse: “To my loving husband from his adoring wife.” All is now well in the emotional world of The Merry Widow, as depicted in Lyric Opera of Chicago’s delightfully musical production.