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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.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
17 Mar 2010
The Saint of Bleecker Street, Marseilles
It takes some courage these days for an opera company to program a Gian Carlo Menotti opera. Nonetheless last month the Opéra de Marseille defied current sensibilities to give us a new production of The Saint of Bleecker Street.
In his prize winning account of music in the twentieth century The Rest is Noise New Yorker magazine critic Alex Ross accords Menotti two mentions — 1) a composer invited into Jacqueline Kennedy’s newly art responsive White House, and 2) an openly gay composer. There is no reference to Menotti’s art perhaps because musically it was a dead end street, and because Menotti’s melodrama, like the broad, latter day melodramma of Italian verismo had soon morphed first into cinematic realism and then disappeared into populist television.
Ironically Menotti did leave a significant artistic legacy. He founded the Festivals of Two Worlds first in Spoleto (1958) and then in Charlotte (1977), stalwart bastions of everything that is progressive in opera and music — a contradiction left unaddressed by Alex Ross.
The Saint of Bleecker Street premiered in 1953, rife with the baggage of the post WWII era. This was when operatic art was expected to abandon its high perches and descend onto Main Street and long runs in Broadway theaters. The Saint of Bleecker Street endured 72 performances. Its has had sporadic revivals in the U.S., notably a 1978 televised version from New York City Opera with Catherine Malfitano (once a Marseilles Butterfly) and a 2007 revival at Central City Opera directed by Mme. Malfitano.
Immigrant life in New York, the quintessential melting pot of the early and mid-century America, is the background for Menotti’s tale of alienation, a subject deeply explored in the ’50’s by artists like Edward Hopper and George Tooker. In fact Tooker’s iconic painting of alienation The Subway (1950) was the basis of the design of the original Broadway production. But Menotti complicated his take on the alienation of Italian immigrants by slathering on a lurid, melodramatic overlay of questionable religious fervor.
If nothing more Menotti’s Broadway success spawned a true masterpiece, Leonard Bernstein’s West Side Story that had its premiere in 1956, just three years later. It is a work so similar in subject that its provenance from Menotti’s little opera is blatantly obvious. But where Bernstein incorporated and expanded the musical discoveries of the twentieth century in his score Menotti kept his tonalities banale and his structures derivative of traditional sources.
The Marseilles Saint of Bleecker Street production was in the hands of British director Stephen Metcalf and British designer Jamie Vartan (neither boast American credits) who placed all the action in a courtyard between two nineteenth century oddly un-New York tenement facades. This confined space supported the scene changes uncomfortably, cramping Menotti’s facile music into a dramatic focus it could not support. Missing was the punctuation of Broadway’s quick-change theatricality, changes that in fact Menotti cleverly incorporated into his descriptive music — à la Puccini.
The Broadway style thrives on razzle-dazzle, and messieurs Menotti and Metcalf obliged with a couple of good, lively scenes — the murder of Assunta and the assumption of the Bleecker Street saint Annina — but the overall scenic rhythm was in fits and starts that missed a Broadway crescendo.
Somehow the underlying theme of incest was always gnawing, perhaps this was subtle direction by Mr. Metcalf or more likely it is latent Menotti, an active participant in the sexually giddy circles of New York’s artistic crème de la crème of that era. This thread carried a potential wallop that never materialized, impossible obviously for Main Street art of the 1950’s but not for the jaded sensibilities of this new century — a missed opportunity for a new production of this potentially shabby little shocker.
There was not an American in the cast, unusual for almost any opera production in the south of France these days. Though she gave a fine, detailed performance French soprano Karen Vourc’h did not capture a saintly rapture, or the crazed rapture of a consenting sexual victim. She was a too plain, too real Annina. Hungarian tenor Attila B. Kiss used a Broadway style voice to expound the trails of the lover Michele when a more beautiful voice could have added dimension to this role. His too careful enunciation of the American underscored the homelessness of this Marseilles production.
Armenian mezzo soprano Juliette Galstian was a good Assunta, capturing a convincing, grandly temperamental jealousy as Michele’s jilted girl friend. But her character was betrayed by the too stylish lines of her costume, in fact the period haute couture look of all womens’ costumes in this production was more important than the character they clothed (a typical complaint to the hereabouts ubiquitous costume design of Katia Duflot).
Russian bass Dmitry Ulyanov was a fish-out-of-water as the priest Don Marco, simply to young and too green to inhabit the soutane of the spiritual and temporal shepherd of Menotti’s needy Italian immigrants. The myriad of supporting roles were however well cast and uniformly effective.
British conductor Jonathan Webb played the Menotti score for all it was worth. The Friday (02/19/10) evening audience indicated by its warm but limited enthusiasm that it had not been duped into believing it had had a significant opera experience.