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

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

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):