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.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.
When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.
Verdi Giovanna d'Arco at Teatro alla Scala, Milan, starting the new season. Primas at La Scala are a state occasion, attended by the President of Italy and other dignitaries.
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.