08 Jan 2010
Quality opera just round the corner
Well into the 1960s, ‘provincial theaters’ were the backbone of Italy’s operatic culture.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.