08 Jan 2010
Quality opera just round the corner
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
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.