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.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim ) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
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.