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It is not an everyday opera. It is an opera that illuminates a larger verismo history.
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]’.
28 Jun 2010
Die Walküre in San Francisco
Ring fever rages on. San Francisco has just unveiled its Walküre the completed cycle to take place next June. Gratefully the price of the SFO effort has not become a topic of conversation, as has the cost of the just completed L.A. Ring
Whispers about the price tag of the upcoming Met Ring suggest the proportions of a foreign war.
Gratefully as well the SFO Rheingold and Walküre have looked like opera, and not like crazed imitations of Star Wars, so they are easier to talk about. Though not necessarily a more or less compelling take on Wagner’s mega opera, this plain SFO Ring is unfolding as conceptually direct and wonderfully human.
Two years ago Rheingold got the San Francisco Ring off to a rocky start with its light weight cast and unfocused staging. Still it was a promising beginning with lots of ideas, some of which did not work all that well (the Nibelheim special effects as example). But lots of fun came out of its director Francesca Zambello who imposed a light touch on the divine machinations that initiate this long saga of greed and love, affectionately capturing the naivete, optimism and entrepreneurial fun that built our cities.
Conductor Donald Runnicles got right to the point in Walküre, not even allowing the applause that greeted him to die before attacking the complications motivated by Wotan’s insecurities. The War Memorial Opera House is particularly kind to Wagner, allowing the transparency within his massive orchestral sound to project the depth of his mountainous landscapes, and as well the myriad of musical motivations to coexist amongst themselves and within this cosmic nature. Mo. Runnicles exploited the Walküre score to its utmost, a remarkably rich reading.
Eva-Maria Westbroek as Sieglinde, Raymond Aceto as Hunding and Christopher Ventris as Siegmund
Die Walküre is no place for lightweights (as in fact Rheingold is not either), and San Francisco Opera rose to the occasion with a nearly stellar cast. The Siegmund of English tenor Christopher Ventris captured the youth of a young hero, his voice beating with energy, the Sieglinde of Dutch soprano Eva-Maria Westbroek soared vocally over the maelstrom with the unborn hero in her womb. But it was Swedish sopranto Nina Stemme’s Brünnhilde whose voice rose over all else as the energy and psychic spirit of Wotan, her creator and the world’s master builder.
This is an American Ring (the mountains are surely our California Sierras, though there is no defining land or river-scape). Hunding’s cabin is an American primitive wood facade with a screen door that can be found no where else in the world other than in middle America. American bass Raymond Aceto in a long sleeved winter undershirt with suspenders was a medium voiced Hunding, his strut and menace hiding this character’s predestined impotence. Paired with his unhappy, beaten and defeated wife, Sieglinde in a ill fitting, sad pale blue dress Hunding, strangely, evoked sympathy.
Costumer Catherine Zuber dressed German mezzo Janina Baechle as Wotan’s wife Fricka in a sort of purple beaux arts long gown in which she stolidly prevailed as a wet-blanket moral conscience. Meanwhile Wotan, American bass Mark Delavan from the Rheingold cast, muttered and spat effectively as some sort of railroad tycoon, but was vocally pallid even before running out of voice (June 22).
Wendy Bryn Harmer as Gerhilde, Suzanne Hendrix as Schwerleite, Tamara Wapinsky as Helmwige, Pamela Dillard as Grimgerde, Daveda Karanas as Waltraute, Maya Lahyani as Siegrune, Priti Gandhi as Rossweise and Molly Fillmore as Ortlinde
Wotan’s Valhalla is seen through the window of a massive high rise. It was not specifically San Francisco but a high rise city profile that is specifically American, with echoes of Fritz Lang’s Metropolis. Set design for this American Ring is by Michael Yeargan who, with Mme. Zambello is working in a determined post-modern vocabulary, Wotan’s desk a huge table with four huge wooden claws as legs, the following scene moving onto the contemporary detritus under an abandoned elevated freeway, and finally an abstract space for the Valkyries and the Wotan farewell to Brünnhilde.
Beautiful, detailed lighting by Mark McCullough subtly caught a real life wolf-dog and his cub racing across the stage as Wotan was about to kill his son, connecting the innocence of real nature to the tragedies of cosmic destiny. McCullough magically captured the steel gray folds of Wotan’s coat covering the sleeping Brünnhilde as a ring of real fire began to encircle the stage, this real fire somehow making the fairytale ending of the Ring’s second installment humanly real, and unusually moving.
Everything in this Ring was ordinary, and that was its triumph. Rarely has operatic acting achieved this level of realism delicately sitting on the verge of expressionism. This accomplishment signals heroic efforts of stage direction plus determined commitment from singers. Miraculously this staging melted effortlessly into the Runnicles reading of the score, the abstract musical motivations from the pit rendered on the stage in movement that effortlessly and truly portrayed complex dramatic motivations. Gesamtkunstwerk indeed!
It was a good night at San Francisco Opera.