19 Sep 2010
Un ballo in maschera at the Washington National Opera
Verdi’s 1859 hit Un ballo in maschera is an inspired choice to open an operatic season.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
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.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
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.
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.
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.
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.
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.
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).
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
Verdi’s 1859 hit Un ballo in maschera is an inspired choice to open an operatic season.
Intrigue, jealousy, murder and mayhem amid the sparkle of a masked ball certainly provide all the ingredients necessary for a successful inaugural gala. Yet director James Robinson’s version of the Ballo that has opened Washington National Opera’s 2010-2011 season is for the most part a gloomy affair, deliberately bereft of pageantry and panache. The color palette is mostly silver, eggshell, and beige; the chorus is dressed in identical drab gray, their steel-gray masks completing the picture of cold, faceless mannequins. Perhaps the director wanted to set the passionate principals of the drama (who — both heroes and villains — are permitted color) in sharper relief against the bland complicity of the chorus that tends to break into sycophantic hymns of praise at every opportunity - a habit that both the conspirators of the story and quite a few members of the audience, in my experience, tend to find extremely irritating.
As is fashionable nowadays, the action in this Ballo has been moved back to the 18th-century Swedish court of Gustav III, Verdi’s original location, which spares an American audience from the torment of imagining the 17th-century Boston, MA, populated by the very un-pilgrim-like Renato and Riccardo. Otherwise, this production is almost entirely traditional, which seemed to suit most of the principals I saw on Tuesday, September 14th, quite well. The Italian imports (tenor Salvatore Licitra as Gustavo and baritone Luca Salsi as Renato, Count Anckarström) in particular tended to gravitate towards the footlights at every opportunity, singing to the audience rather than to each other. Soprano Tamara Wilson as Amelia also tended to limit her acting to an occasional turn of the head. Yet, especially toward the end of the opera, it somehow worked for her, lending her tragic character dignity and poise that, in her predicament, Amelia could certainly use.
The only person in the production whom I spied having any fun at all was Micaëla Oeste’s lovable page Oscar. Oeste’s light, pure tone and her fast, precise, flexible coloratura made short work of the difficult part. She also monopolized virtually all the stage business in this Masked Ball, dancing, flirting, and mischief-making her way through the performance and keeping alive the bubbly spirit of French comedy, which Verdi so carefully planted into his score and which the other performers occasionally seemed to have misplaced. The one exception was the tasty “laughing chorus” at the end of Act 2, led with a suave nonchalance by Kenneth Kellogg and Julien Robbins as Count Ribbing and Count Horn respectively.
One of the highlights of the evening was Salvatore Licitra, who will surely not lack for admirers in the DC area after his performance as Gustavo. Licitra’s is a powerful, metallic tenore di forza that we demand of our Dukes, Alfredos, and Radameses; it carried without strain, easily taking and holding the mandatory high Bs of Gustavo’s part. The singer was at his best in the bel canto strains of his cantabile arias, and as their prominence in his part increased in Acts 2 and 3, his performance soared, the famous grand duet with Amelia and the Act 3 romance Ma se m’è forza perderti garnering plenty of well-deserved applause. All that power, however, seems to come at the expense of flexibility, which made for a few awkward moments in Act 1, in which Gustavo must be at his comic best. While the opening La rivedrà nell’ estasi was lovely, Licitra’s solos in the stretta, Ogni cura si doni al diletto and particularly in the fabulous quintet, È scherzo od è follia in Act 1 Scene 2, lacked not only an articulate coloratura, but occasionally the basic pitch and rhythm, especially at the break-neck tempi chosen by the conductor, Licitra’s compatriot Daniele Callegari. The bright spot in that scene was the Russian mezzo-soprano Elena Manistina, who stole the show as the fortune-teller Ulrica (that is, Mam’zelle Arvidson, according to Verdi’s original cast list). Manistina’s deep, rich, darkly powerful voice carried easily, with perhaps only a little too much vibrato - an echo of the Moscow singing school that nurtured the singer, a former Operalia winner. Immediately impressive was the opening invocation; despite the distraction of her unfortunate costume and wig (a cross between Macbeth and The Witches of Eastwick), one could hear both the menace of Azucena and the mystery of the Pique Dame, Ms. Manistina’s two signature parts.
Salvatore Licitra as King Gustavus III and Elena Manistina as Ulrica
As is so often the case, the overall impression of an opera production is either ruined or redeemed by the decisions of its design team, and the WNO’s Ballo was no exception (sets by Allen Moyer; original lighting by Duane Schuler; lighting by Jeff Bruckerhoff). The set for the fortune-telling scene, for instance, features the back panel of the palace ballroom, raised to hover diagonally over the stage, while Gustavo is forced to hide, in a most undignified fashion, behind a pile of left-over ballroom furniture. The choice of the ballroom’s fancy candelabra, partially covered with strips of cloth, somehow made to illuminate the Act 2 graveyard scene, is also rather puzzling. And alas, the pitiful sight of the choristers carrying their own chairs does make one reflect upon the depth of WNO’s budget woes. The “less is more” approach, however, works wonders in the opening scene of Act 3: set between the two panels - the floor and the much-too-low ceiling, with the sides draped in black, the austere design projects the oppressive and menacing atmosphere of the Anckarström household with spectacular power. Luca Salsi was equally spot-on with his Eri tu, one of Renato’s signature pieces and undoubtedly Salsi’s best contribution on Tuesday - his opening Alla vita che t’arride was shaky enough to make one wonder whether the part was too high for him. Like Salsi, Tamara Wilson’s Amelia grew on me as the evening progressed: her first act was unremarkable; the grand scena in Act 2 was better, although I was not entirely convinced by the duet; but the heart-breaking Morrò ma prima in grazia in Act 3 Scene 1, with its subtle mezzo voce, was truly memorable. That scene indeed proved one of the most potent in the production, if not for the orchestra - the timpani so loud and the brass so stunningly off-pitch, one could almost understand Amelia’s desire to end it all.
Salvatore Licrita as King Gustavus III and Tamara Wilson as Amelia
In the final analysis, this WNO production of Un ballo in maschera, although uneven, is worth seeing, both for the highlights in the cast and for some powerful moments in direction and design. After all, the company is not spoiling us for choice this season, with only one other production — Salome — between now and March. Stay tuned!