08 Jan 2010
Quality opera just round the corner
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March. The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
Typically seating 200 to 600, offering reduced seasons of just a few popular titles, hosting strolling companies and partly drawing from semiprofessional forces as to orchestras and choirs, they worked as an efficient low-entry circuit nationwide, so that young talents might be discovered and acquire stage experience, while mature professionals could age gracefully while waiting for retirement.
That pattern went nearly lost during the following decades, as growing travel opportunities on one side, and multimedia diffusion of grand opera productions on the other, compelled many a minor house to shut up shop. However, part of it is resurfacing in a more sophisticated form. Aware of unavoidable competition from opera DVDs and cheap live beaming in neighborhood cinemas, provincial opera theaters now reopen under the aegis of local Councilors for Culture and Education, putting a premium on artistic quality rather than on business, albeit within the constraint of limited public budgets.
Padua’s Teatro Comunale, named for Giuseppe Verdi, is one such example. “Less is more” is the motto for this small but savvy house that offers two productions a season, with fashionable directors, elegant but essential sets and emerging musical talents from the world over. Coproductions with its peers in the area, Rovigo and Bassano del Grappa, multiply the impact and grant Padua denizens the experience of live opera just round the corner — for ludicrous investments. This lovely production of Trovatore, for example, did cost the local taxpayer a mere Euro 105,134.06 — all included.Anna Smirnova as Azucena
It updates the action from Medieval Spain to some unspecified episode of modern class warfare, or, according to the director’s notes, to the days of Resistenza, the anti-Nazi guerrilla in Italy during the 1940s. While the consistency of this metamorphosis remains questionable under several viewpoints, it allows director Denis Krief — in charge of costume design as well as of sets and lighting — to contrast the rival parties by outfitting Count di Luna and his troopers in military uniforms resembling an early version of today’s Italian Polizia di Stato and Manrico’s forces (including the hard-working Gypsies) in casual civilian clothing. Simple, clear and low-budget enough. Both Leonora and her lady-in-waiting Ines wear elegant evening gowns befitting their social rank; as to Azucena, she stands midway between a punk star and the German diva Brigitte Helm featuring the Whore of Babylon in the 1927 cult movie Metropolis.
Even though the stage is rather large, Krief uses the space well and moves his people within the framework of a gigantic book, whose wooden pages, around 5.50 meters tall, are meant to remind that Verdi’s gloomy narration is both historic and a fairy tale. Their diversely carved surfaces, turned by the stagehands after each scene, also provide an ever-changing enhancement to the hall’s acoustic. Sound wizardry through a frugal technology not involving any electronic equipment.Vitaliy Biliy as Conte di Luna, Walter Fraccaro as Manrico and Kristin Lewis as Leonora
Conductor Omer Meir Wellber clearly appreciates how fine an orchestrator Verdi was, as I heard many woodwind colors that often go overlooked, while the strategic role of the offstage choir and band was given due prominence. The young Israeli maestro, still in his late twenties, is a wonderful talent. His debut at Padua, in late 2008 with Aida, got him no less than the Toscanini Award from the Italian association of music critics. A similar story to Kristin Lewis’, a budding soprano from Little Rock, Arkansas, whose appearance as Aida on said production won her a row of international invitations for the same role. From her first phrase as Leonora she gave the impression of an almost ideal Verdian performer — indeed her ample, soft-grained lyrical tone and generous chest notes made her singing the delight of the evening.
As Azucena, the Russian mezzo Anna Smirnova impressed with her vast range of vocal color and dramatic accents of uncommon intensity. Ferrando, a somewhat perfunctory character who opens the opera by explaining the background that sets the plot in motion, then practically disappears, was impersonated by Roberto Tagliavini. With his big, solid voice and strong stage presence, he offered a preview of the vocal treasures he has in store, leaving me with the desire to hear more.
The two leading men, tenor Walter Fraccaro as Manrico and Ukraine’s baritone Vitaliy Biliy as Count di Luna, are both good singers who interpret their roles with much ardor. Both have some dramatic shortcomings, though. In Biliy’s case the problem lies in acting. Even though he’s tall and commands the stage as a military leader should, his gestures are stock, failing to convey the character’s moments of doubt, brief repentance, and final desperation.