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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.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
28 Mar 2010
A Composer Grows before his Work — The Grapes of Wrath at Carnegie Hall
Many congratulations and thanks are in order to the Collegiate Chorale for
bringing Ricky Ian Gordon’s adaptation of The Grapes of Wrath to New York audiences this week.
However, while the evening at Carnegie Hall was more
theatrically compelling than most semi-staged performances, the compromise of
shortening the three-act opera into two acts of music-theatre with a crossover
cast seemed better intended than it was actually effective. Firstly, by
replacing the connective recitative with narration from novel (read by Jane
Fonda), Gordon’s musical diction was made less effective and, moreover,
Michael Korie’s rhyming libretto suffered in comparison to John
Steinbeck’s original prose. Secondly, changing the theatrical structure
of the evening necessarily altered the musical architecture. Reoccurring
motives effectively became musical theatre reprisals rather than the thematic
development post-Wagnerian opera audiences expect. At its best,
Gordon’s score evoked Ragtime more than Porgy and Bess.
The crossover casting, made possible by across the board sound enhancement,
was inspired in some instances but minimized the vocal demands on the singers
and did little to establish The Grapes of Wrath as an equivalent to the great
American novel. Christine Ebersole was in character from the moment she stepped
onto the stage, much more so than most of her counterparts from the world of
opera and concert repertoire. That said, while her brief appearance as the
waitress Mae should be lauded for the character arc created in a single scene,
Ebersole’s vocalism on Monday evening would be considered lacking on
either the Broadway or the operatic stage. Victoria Clark and Steven Pasquale,
both from the original cast of Adam Guettel’s The Light in the Piazza,
fared better. As Ma Joad, it was Clark, rather than headliner Nathan Gunn, who
proved to be the both the musical and dramatic lynchpin of the evening.
Pasquale used Al Joad’s short second act aria “Hooverville”
as an opportunity for cynical showboating à la Gershwin’s Sportin’
Among the opera singers in the cast, Gunn had the easiest singing and, not
coincidentally, the most fun with his musical material. His duet with Sean
Panikkar (stepping in for Anthony Dean Griffey as the preacher Jim Casy)
featured the evening’s most exciting vocalism. Moreover, Panikkar dealt
with the Jiminy Cricket text of his aria “Things Turn Around” with
considerable style and dignity. It was unfortunate to hear such a fine
singer’s phrasing and coloring flattened by the so-called acoustic
In order to elide three acts into two, Gordon and Korie had to cut much of
the musical and dramatic exposition and development. Therefore, the aria
establishing Jim Casy’s character was actually his swan song. This was
also the case with Andrew Wilkowske in the role of Noah. Perfectly cast,
Wilkowske carried off the evening’s most challenging scene with sweet
singing, sensitive acting, and overall aplomb. As Uncle John, Stephen
Powell’s performance was fully realized both dramatically and vocally.
Within the ensemble cast, Matthew Worth played three parts, but should be
especially commended for his turn as the Ragged Man.
Nathan Gunn and Victoria Clark
Costuming by Jacob Climer and projections by Wendall K. Harrington helped to
actualize the opera’s considerable theatrical potential. Inexplicably,
though, Elizabeth Futral showed no visible signs of pregnancy as Rosasharn.
Some of the projections, a mix of black-and-white period footage and color
representations of Dust Bowl meteorological phenomena, were more literal than
evocative (as in the case of the burning crops during the riot at Hooper
Ranch). The evening’s rather abrupt ending, in particular, could have
been made more poignant with different projections and lighting. Perhaps this
was due to the limitations of the concert stage – a full orchestra of
music stand lights took away from the poetry of Rosasharn’s “one
star” in the night sky as a beacon of American hope – or, more
likely, the rushed feeling of condensing a five hours of original music into
In either case, as an evening of music-theatre Gordon’s The Grapes of
Wrath shows promise. Since its original production at the Minnesota Opera in
2007, members of the original team, including director Eric Simonson, have
overseen the subsequent productions at Utah Opera and Pittsburgh Opera as well
as this week’s performance at Carnegie Hall. If new creative teams can
work with the material as effectively as singers like Andrew Wilkowske, Sean
Panikkar, and Stephen Powell have assimilated their roles, then audiences have
something to look forward to.
Clearly, Gordon and Korie are open to the idea of re-tooling their opera in
order to make it more viable for today’s opera houses and audiences. It
would be interesting to see if, rather than featuring a large orchestra and
expanding the use of the chorus, the opera could be centered around a core
ensemble cast à la John Corigliano’s recent reconfiguration of The Ghosts
of Versailles. After all, the difference between a novel and a musical score as
a source document is that as a book stands the test of time it eventually
becomes a definitive example of something specific within its literary canon.
In order for an opera to become part of the standard repertoire, the score and
libretto need to inspire many different interpretations so that multiple
successful productions may be mounted. The Collegiate Chorale’s concert
version of The Grapes of Wrath should definitely be considered a success and a
step towards establishing both the composer and the work within the American