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.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
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.