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.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
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.