08 Jan 2010
Quality opera just round the corner
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
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?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
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.