20 Jul 2010
Opera’s Brigadoon — OTSL’s 2010 Season of the Sublime
At the beginning of every summer, an oasis of music and theater appears like magic in the suburbs of St. Louis.
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.
1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.
At the beginning of every summer, an oasis of music and theater appears like magic in the suburbs of St. Louis.
For just over a month, Opera Theatre of St. Louis turns the gardens on the campus of Webster University into a paradise for opera-lovers, a place where musical integrity and dramatic innovation both bloom apparently overnight.
The 2010 season opened with a production of Mozart’s Le Nozze di Figaro which played to the company’s strengths — namely, gifted young singers singing in the vernacular of their audience in an intimate setting. In James Robinson’s appealing and generally well-cast staging, the domestic dysfunction within the Almaviva estate illustrated the larger social concern of violence between the upper and lower classes. The clever new translation by Andrew Porter contained several genuinely funny moments and the singers put the text across well.
Jamie Van Eyck as Cherubino
Heading the talented cast was Christopher Feigum as Figaro. Judging by his successes in the past two seasons, Feigum was born to play this character. Not only was his barber canny as well as caring, he also communicated the sense of masculine competition between servant and master in both “Se vuol ballare” and an intense stare-off with the Count leading into the wedding procession.
Edward Parks as the Count and Amanda Majeski as the Countess
The counterpart of Figaro’s tension with the Count should be physical chemistry with his bride-to-be. As her elegant and moving performance in the role of Marie Antoinette in John Corigliano’s The Ghosts of Versailles illustrated, Maria Kanyova is an extremely compelling singer and actress. She is not, however, a born soubrette and it was disappointing to see her in a role that did not showcase her talents as well as triumphs of seasons past. Her Susanna seemed worried too often and acted as Figaro’s magician’s assistant than his equal partner. Still, the final phrases of “Deh, vieni” were enchanting and I look forward to hearing Kanyova again.
In the roles of the Count and Countess Almaviva, Edward Parks and Amanda Majeski were as well-suited to their respective parts as they were well-matched as a couple. Parks imbued his Almaviva with a vanity that complemented his violent tendencies and the moment he took to compose himself after “Hai già vinta la causa” was perfection. As his wife, Majeski conveyed preternatural musical maturity with her carefully molded phrases and exquisite control over her voice. Her face was as lovely and expressive as her singing and one could almost see the memory of young Almaviva serenading his Rosina cross her face as she listened to Cherubino’s canzonetta.
Jamie Barton as Marcellina, Maria Kanyova as Susanna, Christopher Feigum as Figaro, and Matthew Lau as Doctor Bartolo
As the page, Jamie Van Eyck delivered said canzonetta with hormonally charged urgency. Also among the excellent supporting cast were Jamie Barton, Matthew Lau, and Matthew DiBattista. The trio took evident (and infectious) pleasure at being onstage both individually and as a group. Bradley Smoak was rather young for the role of Antonio, but his transformation from inept drunkard to the persnickety Floor Manager he played in Peter Ash’s The Golden Ticket was impressive. As his daughter, Elizabeth Zharoff showed much promise, even if her Barbarina came across as more dull-witted than young. John Matthew Myers delivered one of the evening’s best punchlines as a deadpan Don Curzio.
For the first half of the opera, a large crack in the wall and floor physically represented the discord within the household. Bruno Schwengl provided charming sets and costumes, with the exception of a singularly ugly garden for Act IV. Both lighting by Christopher Akerlind and choreography by Seán Curran were exquisite. Stephen Lord, a relatively last minute replacement for Timothy Long, presided over members of the Saint Louis Symphony Orchestra with his signature confidence and zest. The company’s Artistic Director James Robinson created several moments of amusing and innovative theater including staging during the iconic overture, a haircut given to Cherubino during “Non più andrai,” antics with a dress form, and multiple pairs of roving hands. The only moment that fell flat was the large tree that literally fell to the ground during the opera’s final moments.
As Madame Larina says in David Lloyd-Jones’ translation of Eugene Onegin, in real life there are no heroes or heroines. If that is true, then the opera is where we go to find them. As Tatyana in Kevin Newbury’s production of the Tchaikovsky opera for OTSL, Dina Kuznetsova performed with the vocal and dramatic presence of a true heroine. However, when we first encounter the character, Tatyana is a dreamy and impressionable girl. It was difficult to hear Kuznetsova’s full, womanly voice and remember she is an ingénue, especially as the mature Tatyana appeared in the opening moments of this staging, gazing upon a portrait of her younger self from the summer she met Onegin. This early revelation robbed the audience of the Pygmalion moment in Act III, when Tatyana has established herself in St. Petersburg as a woman of significant reserve and social standing.
Because the staging focused so much upon Tatyana, the role of Eugene Onegin seemed strangely underdeveloped. Little was done to answer the perturbing questions about Onegin’s nature and, as his primary characteristic appeared to be moral ambivalence, it was easy to feel ambivalent about the man himself. In the title role, Christopher Margiera’s fine singing and strong musical presence were best utilized in moments of ensemble, such as the gorgeous quartet in Act I. As Tatyana’s sister Olga, Lindsay Ammann was appropriately kittenish and her fair coloring contrasted beautifully with Kuznetsova’s dark hair. In the role of Olga’s paramour Vladimir Lensky, Sean Panikkar sang with an ardency and tenderness that left you wishing you were Olga (at least for the first act). His aria comprised of some of the most musically satisfying moments of the entire season.
Sean Panikkar as Lensky and Lindsay Ammann as Olga
In the supporting roles of Madame Larina and Filipyevna, Gloria Parker and Susan Shafer each performed with a winning mixture of strength and softness. Andrew Drost’s Monsieur Triquet was a perfect complement to his turn as Augustus Gloop in The Golden Ticket. For both roles, Drost drew on his considerable musical finesse and physical elegance to great comic effect. Christian Van Horn, an OTSL favorite, was a young but dignified Prince Gremin.
As the first peasant, Jeffrey Hill led a chorus of very well-prepared, organized, and happy peasants. In particular, the girlishness of the women’s chorus was used effectively to underscore Tatyana’s brooding nature. Conductor David Agler led the cast and orchestra in a performance memorable for its musical integrity from start to finish.
The sparse wooden sets designed by Allen Moyer, although attractive, did little to illustrate the scope of the Larin estate or to differentiate between the provincial and St. Petersburg interiors. That said, the minimalist horizontality provided a perfect frame for the bleak moments of Lensky’s aria and the subsequent duel. Moreover, the transition from exterior to interior for the party scene was a little piece of theatrical magic. Martin Pakledinaz’s handsome costumes were enhanced by Tom Watson’s especially naturalistic and effective hair and makeup.
To the company’s credit, it is nearly impossible to assess two of the four festival productions without considering the other two. Each staging complements the others and the young artists (both onstage and off) benefit from this cross-pollination as much as the company’s devoted followers. By the end of the season, it is hard to imagine the gardens empty and the theater fallen silent. Then, like Brigadoon, it all is gone. Luckily for us, we don’t have to wait 200 years for the next season of enchantment.
Marriage of Figaro
Figaro, servant to Almaviva: Christopher Feigum; Susanna, Rosina's maid and Figaro's intended bride: Maria Kanyova; Doctor Bartolo: Matthew Lau; Marcellina, his housekeeper: Jamie Barton; Cherubino, page to the Countess: Jamie Van Eyck; Count Almaviva: Edward Parks; Don Basilio, music master to the household: Matthew DiBattista; Rosina, Countess Almaviva: Amanda Majeski; Antonio, gardener and uncle to Susanna: Bradley Smoak; Don Curzio, lawyer: John Matthew Myers; Barbarina, Antonio's daughter: Elizabeth Zharoff; Two peasant girls: Rebecca Nathanson and Irene Snyder. Conductor: Timothy Long, Gregory Ritchey (June 16); Stage Director: James Robinson. Set and Costume Designer: Bruno Schwengl. Choreographer: Seán Curran. Lighting Designer: Christopher Akerlind.
Tatiana, daughter of Madame Larina: Dina Kuznetsova: Olga, her sister; Lindsay Ammann: Madame Larina; Gloria Parker; Filipyevna, the family’s old nurse: Susan Shafer; A Young Peasant: Jeffrey Hill; Vladimir Lensky, a poet: Sean Panikkar; Eugene Onegin, a friend of Lensky: Christopher Magiera; A Captain: Adrian Rosas; Monsieur Triquet, an old friend of the Larina family: Andrew Drost: Zaretsky, a retired officer: Aubrey Allicock; Guillot, Onegin’s valet: Nick Fitzer; Prince Gremin: Oren Gradus. Conductor: David Agler. Stage Director: Kevin Newbury. Set Designer: Allen Moyer. Costume Designer: Martin Pakledinaz. Choreographer: Seán Curran. Lighting Designer: Christopher Akerlind.