Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

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 Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

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).

Orpheus in the Underworld, Opera Danube

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.

Lady Macbeth of Mtsensk in Lyon

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 . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

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.

Tosca, Royal Opera

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.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

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.

Classical Opera: MOZART 250 — 1766: A Retrospective

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’.

Benjamin Appl — Schubert, Wigmore Hall London

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.

Ferrier Awards Winners’ Recital

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.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

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.

Tippett : A Child of Our Time, London

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.

Taverner and Tavener, Fretwork, London

‘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.

Fall of the House of Usher in San Francisco

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.

The Merry Widow at Lyric Opera of Chicago

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.

OPERA TODAY ARCHIVES »

Performances

Sketch of Figaro by Marina Reti courtesy of the Aspen Opera Theater Center
15 Aug 2010

Michael Christie conducts Corigliano in Aspen

Michael Christie, now 34, was too young to see John Corigliano’s Ghosts of Versailles when it was new at the Metropolitan Opera in 1991.

John Corigliano: Ghosts of Versailles

Above: Sketch of Figaro by Marina Reti courtesy of the Aspen Opera Theater Center

 

Yet he was the obvious choice to conduct the world premiere of the revised version of the work at St. Louis Opera Theater in 2009.

“To celebrate John’s 70th birthday I had done a Corigliano festival with the Brooklyn Philharmonic,” says Christie, who then took James Robinson’s St. Louis production to Ireland to open the new opera house at Wexford. “I had worked with him; I knew his style and I knew his sounds. “Conducting Ghosts was a natural next step.”

This week Christie is on the podium for an all-new staging of the revised version by the Aspen Opera Theater Center, the music-theater wing of the Aspen Music Festival and School. “I’ve now lived with Ghosts for a year,” says the conductor, who has just wound up his 10th season as music director of the Colorado Music Festival in Boulder. “I’m totally at home with the score.”

In addition to that, Christie loves it. “I’ve watched the video of the Met production,” he says. “It’s all about stars Teresa Stratas and Marilyn Horne. “Now John has really tidied things up and made a true opera of it.” Nonetheless, Christie will be working with 60 singers on stage and an orchestra so large that it spill over into the Green Room of Aspen’s historic, 500-seat Wheeler Opera House. (With supers, the Met had 300 on stage for the original production.)

Christie further feels that the revision — it was done by John David Earnest with input from Corigliano — refines the lines of the opera-within-an-opera. “It’s now two acts instead of three and half an hour shorter than the original,” he says. “It holds together much better.”

Central figure of the outer story is Marie Antoinette, who 200 years after she was beheaded in the French Revolution, wants to return to life. The story then moves back to 1793 and offers a hilarious picture of the Almaviva family, familiar to all from Mozart’s Marriage of Figaro. Instead of re-writing the story Mozart’s librettist, Pierre Beaumarchais and the late Empress fall in love.

“Laughter threatens to drown out the music in Act One,” Christie says, “but then comes the love story, and the opera has a very serious side. “Much of it is breathtakingly beautiful!” Although it’s wrong to see the score as “Mozartian,” Mozart, he says, is everywhere in it.

In mid-summer Christie spent three days in Aspen rehearsing singers. “It’s a different ‘take’ on opera,” he says. “Corigliano’s vocabulary is very specific, yet he leaves the orchestra quite free — almost improvisational at times.” In Ghosts the orchestra, he explains, is at the service of what is on stage. It’s up to the conductor to keep the singers moving and to keep the orchestra with them. “It’s an usual role for a conductor,” he says. “If you’re used to being in charge, this opera is not for you.”

Christie focused on opera at the outset of his career, having served for three years as assistant to Franz Welser-Möst in Zurich. With Ghosts he returns to the pit with performances of Verdi’s Traviata and Wuthering Heights by Hollywood master Bernard Hermann at Minnesota Opera. In 2011 he returns to St. Louis to conduct John Adams’ Death of Klinghoffer.

Edward Berkeley, his Juilliard mentor who has directed the Aspen Opera Center for three decades, has built the summer season around the figure of Figaro. Ghosts was preceded by Rossini’s Barber of Seville and Mozart’s Marriage of Figaro. “Ghosts fits a festival well,” say Berkeley, who directs the production “and in this context it gives students a look at how different composers treat the same group of characters.” “It gives our audience a chance to compare how they have used the same material.” He calls Corigliano “very skilled.” “He’s taken these characters beyond Beaumarchais and added his own layer to the story,” he says. He is awed by the dimensions even of the revised score. “It’s an enormous work,” he says. “It may be the biggest thing we’ve ever tried.”

Michael Christie as conductor was for Berkeley “a natural choice.” “I knew his work in Brooklyn,” he says. “He was widely praised for his mastery of Ghosts in St. Louis and Ireland.” Earlier in the summer Christie proved himself a Wagnerian of great promise with a Colorado Music Festival program that featured veteran soprano Jane Eaglen in the “Liebestod” from Tristan and the “Immolation scene” that concludes Götterdämmerung.

John Corigliano based Ghosts largely on The Guilty Mother, the third part of Beaumarchais’s Figaro trilogy. Sets for the production are by John Kasarda; costumes by Marina Reti.

John Corigliano’s Ghost of Versailles is on stage in Aspen’s Wheeler Opera House at 7 p.m. on August 19 and 21. For information and tickets at $25 to $50, call 1-970-925-9042 or www.aspenmusicfestival.com.

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):