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

The Mastersingers of Nuremberg, ENO

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.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

OPERA TODAY ARCHIVES »

Reviews

Jessye Norman
08 Jun 2010

Festive Concert with Jessye Norman

It was more the ruins than the remnants of a once-great voice that Jessye Norman brought to Israel’s new, 6500-seat outdoor opera theater at the foot of historic Masada Mountain.

Festive Concert with Jessye Norman

Jessye Norman, soprano. Raana Symphonette Orchestra. Conductor: Rachael Worby.

Above: Jessye Norman

 

The appearance of an artist whose best years lie in the past can be a moving experience in its recall of extraordinary greatness. Hearing Norman, once one of the most impressive voices of her day, at this point in her career was, however, disquieting — and disheartening.

The concert was a major event in launching the program that makes Israel Opera a major player among the world’s summer opera festivals. Yet the established format for such gala events is in itself of questionable artistic merit: one sits patiently through bits and pieces of opera — the Marchfrom Aida and a bit of orchestral Puccini — waiting to hear a modest handful of hits sung by the artist of the evening.

The music that made Norman famous — Strauss, Mahler, Wagner — is clearly no longer within her reach and thus was totally absent from the Masada program. There she turned rather to Saint-Saens and Puccini and — on the second half of an almost three-hour concert — Gershwin and Duke Ellington. For certain qualities Norman, now 65, can still be praised: pitch is no problem and — with an excess of hand gestures — she still throws herself into the music.

The sad truth, however, is that she has lost absolute control of her voice; there is no longer flexibility, and only rarely was there at Masada a hint of the beauty and richness that once made her special. To counter her diminished powers Norman chose as her partner onstage young American Rachel Worby, now at home with the Pasadena Pops, who worked in Israel with the Raanana Symphonette, an ensemble founded in 1991 largely by musicians from the then still Soviet Union.

Worby qualified at Masada as an accommodating accompanist — not as an independent conductor. She took her cues from Norman and did what she could to help the singer create an impression of great artistry. Alas, it did not work.

The new theater, so successful for the lavish production of Verdi’s Nabucco on the previous evening, was much too large for the Norman concert. The sound so superb in Verdi was anemic; the show was too small for the majesty of surroundings that reached to the very edge of the Dead Sea.

Also physically diminished, Norman failed to reach her audience emotionally in the first half of the program; there was little enthusiasm in the response to Italian hits. Things went somewhat better with Gershwin and Ellington — but not much better. Although Norman on occasion sang this music earlier, it was never at the center of her repertory, and despite the use of a husky chest voice, one could not overcome the impression that here she was poaching.

The irony of It Don’t Mean a Thing if it Ain’t Got that Swing was that Norman could not make it swing at all. “You can hear Ella Fitzgerald rotating in her grave,” someone commented in leaving the performance that ended with several encores, including an uncomfortably graceless Amazing Grace. One wonders about Norman’s health. Getting on and off stage was an obvious effort; several times she remained on stage in a darkened chair while the orchestra was in the spotlight and on several occasions she remained seated while singing.

The big critical question, however, concerns the “why” of this event. Why did Israel Opera invite Jessye Norman for a concert that not only heralded a new festival, but also celebrated the company’s 25th anniversary? The concert underscored a turning point in the history of an ambitious and admirable company. The concert was thus designed to give Israel Opera at Masada an instant cachet: I’m Jessye Norman and I’m here to tell you how fantastic Masada is…

In this Norman failed Israel Opera; the concert was far from sold out, and many chose to listen to the second half at the bars outside the theater. And Norman? Why did she do this? How did she see — and hear- herself?

Once a queen, always a queen?

To a star who once had it all, recent years, devoted largely to good works, have been unkind. (Compare Norman’s artistry today with that of Frederica von Stade, also born in 1945.) She remains active, doing good works, but, as one saw at Masada, Jessye Norman is no longer a presence in the world of performing artists.

The Norman conquest, so to speak, is over.

Wes Blomster

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):