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On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for
musicological and ethnomusicological research, providing abstracts and indexing
for users all over the world. As such, RILM’s style guide (How to Write
About Music: The RILM Manual of Style) differs fairly significantly from
those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican,
London, shape-shifted like one of Alice’s adventures. The BBC Symphony
Orchestra was assembled en masse, almost teetering off stage, creating
a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens
or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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