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Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
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.
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