Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

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.

The Tempest Songbook, Gotham Chamber Opera

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.

San Diego Opera presents Adams’ Riveting Nixon in China

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.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

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.

An Ideal Cast in Chicago’s Tannhäuser

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.

Madame Butterfly, Royal Opera

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.

Tosca in Marseille

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.

Poetry beyond words — Nash Ensemble, Wigmore Hall

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.

Arizona Opera Presents Magritte Style Magic Flute

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.

OPERA TODAY ARCHIVES »

Reviews

Patricia Racette (Marguerite) and Sefano Secco (Faust) [Photo by Cory Weaver courtesy of San Francisco Opera]
08 Jun 2010

Faust in San Francisco

Faust has long since left the French repertory to enter the international repertory, meaning that, like Disneyland, it has been absorbed into diverse cultures where it discovers new resonances.

Charles Gounod: Faust

Faust: Stefano Secco; Marguerite: Patricia Racette; Méphistophélès: John Relyea; Valentin: Brian Mulligan; Siebel: Daniela Mack; Marthe: Catherine Cook; Wagner: Austin Kness. Conductor: Maurizio Benini. Director: Jose Maria Condemi. Production Designer: Robert Perdziola. Lighting Designer: Duane Schuler. Choreographer: Lawrence Pech.

Above: Patricia Racette (Marguerite) and Sefano Secco (Faust) [Photo by Cory Weaver courtesy of San Francisco Opera]

 

The operatic culture at San Francisco Opera is quite Italian these days, explaining maybe why for this montage of Gounod’s 1859 masterpiece the baton was passed to Italian conductor Maurizio Benini and its leading role was entrusted to fine Italian tenor Stefano Secco.

We might have been tempted to think of it as an Italianate montage except that all but one of the rest of its cast were graduates of SFO’s estimable young artist stable, the Adler Fellows, most notably the divissima Patricia Racette as a touching Marguerite, and not too far behind John Relyea as an ultra debonair Méphistophélès. Not to mention soprano Daniela Mack as a right-on Siébel.

Rel_TMC.gifJohn Relyea as Méphistophélès [Photo by Terrence McCarthy courtesy of San Francisco Opera]

The Adler Fellows is the justifiable pride of San Francisco Opera. Young singers arrive and are transformed into young artists many of whom eventually or even quickly become big stars with extraordinary dimension — well schooled fine voices and well schooled stage comportment. If you were a stage director these artists could be the colleagues of your dreams.

The production (sets and costumes) for this Faust montage came from the San Francisco Opera warehouse where it has been sequestered for fifteen years. The program booklet did not identify an original director, though the scenery and costumes were attributed to Robert Perdziola a veteran of several SFO productions during the Mansouri years. It was a meant-to-be dreary, towering unit set, its painted backdrop even more dreary architecture, scenery reminiscent of all the mistaken reasons Faust is considered a dated old piece that does not resonate with current sensibilities.

Staging of this revival was entrusted to yet another former Adler Fellow (the Adler Fellows occasionally include the odd stage director as well as the usual singers). Argentine born and trained Jose Maria Condemi did his best to make something of all this — like making Faust who we always thought was a philosopher into an anatomy professor. The opera began with four corpses on the stage awaiting dissection, Faust about to become a fifth corpse. But suddenly one of the corpses arose as Méphistophélès who saved the day.

Wagner, current Adler Fellow Austin Kness, was not a student but a soldier, later brought back from battle on a stretcher where, wept upon by his mother, he expired during the rousingly famous Soldiers’ Chorus, meanwhile Valentin, Juilliard trained Brian Mulligan as commanding officer presented flags to distraught wives and mothers of the soldiers who did not return.

RelKne_CW.gifJohn Relyea as Méphistophélès and Austin Kness as Wagner [Photo by Cory Weaver courtesy of San Francisco Opera]

And, uhm, Méphistophélès arrived at the fair (Kermesse) like Pagliacci (in harlequin garb) in his pornography wagon, Marguerite sang her spinning song while operating a huge loom in an eighteenth or some other century sweatshop. Just when you thought Faust was about pretty music it turned out to be about stage business. Mr. Condemi did indeed have many ideas that the singers worked too hard to implement. We soon tired of all those ideas and from all that work and just wanted to hear Gounod’s beautiful music.

But that we did not. Conductor Benini took turgid tempos, confusing Faust’s inherently pretty sentimentalism with hard-hitting verismo. Tenor Stefano Secco, a sensitive actor, did have some very fine moments of quite beautiful singing, never quite suppressing a hint of squillo or the sense that a tenorial sob was out of the question. Mr. Mulligan, the Valentin, quickly created his character in his Avant de quitter as an insensitive, volatile, big voiced personality who had not quite mastered the strut and lurch school of acting. Mme. Racette indulged us with some thrilling diva singing though her persona conveyed heroic distress more than Marguerite’s innocent madness.

The Saturday night audience, the opening night of the spring season, was out for a good time and judging from the applause Méphistophélès succeeded best in making it fun. Bass Baritone John Relyea dominated the stage with a commanding presence, a forceful voice, and lots of colorful costumes. The staging however deprived him of all possibility to exploit the sometimes diabolically sublime music Gounod gave him, in particular his here sarcastic delivery of the meltingly beautiful invocation to darkness Ô nuit, étends sur eux ton ombre.

sword_CW.gifBrian Mulligan as Valentin and John Relyea as Méphistophélès [Photo by Cory Weaver courtesy of San Francisco Opera]

The name of the opera is Faust though it is all about Marguerite who has the great showpiece arias plus the sometimes spine-tingling ascension. But Faust gets the last bow anyway. Though his cad-like behavior on stage had not endeared him to the audience Mr. Secco gracefully accepted his less enthusiastic ovation, knowing that he had made a successful debut in a role that will serve him well in international circles.

Lighting designer Duane Schuler did not take an opening night bow. Mr. Schuler most recently lighted the Peter Stein Tchaikowsky trilogy in Lyon, moving from the sublime to the ridiculous.

Michael Milenski

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):