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.
During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
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.