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.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on Friday night was the latest in the Coliseum’s recent run of new and co-produced productions, and also renowned director Peter Jones’ latest foray into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the same arts festival in Coventry for which Britten’s War Requiem was written and in fact the two works have something in common, dealing with the issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s Die Fledermaus several debuts are notable to both American and Chicago audiences.
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera House risks laying the house’s Director of Opera open to charges of antiquated mores and misogyny: for he seems to suggest that the women are just as bad, if not worse, than their seducer — and that a soulful man who seeks genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
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!