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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

The Bandits in Rome

AKA I masnadieri, rare early Verdi, though not as rare as Alzira. In 1847 London’s Her Majesty’s Theatre  commissioned the newly famous Verdi to write this opera for the London debut of Swedish soprano Jenny Lind.

OPERA TODAY ARCHIVES »

Performances

Divas and Divos Concert
24 Oct 2010

Divas and Divos Concert, Manitoba

It’s every opera director’s nightmare.

Divas and Divos Concert

Manitoba Opera Association, Winnipeg, Manitoba

 

With your production just days away, one of your scheduled singers becomes ill. You scramble around to find a replacement. Lo and behold, you find a wonderfully reliable and willing fill-in. All is well.

But it doesn’t end there! At the very last moment, another singer falls ill. This time there isn’t time to put another artist in her place. But the show must go on — so you tinker with the program, adapt and adjust as best you can.

That’s the saga of Manitoba Opera Association’s (MOA) season opening presentation, Divas and Divos Concert on Saturday, October 16 at the Centennial Concert Hall in Winnipeg. Tenor David Pomeroy and soprano Mariateresa Magisano were both forced to bow out due to illness. From the reaction of the healthy-sized audience during the performance, however, you’d never suspect there had been a single glitch.

The show was accurately billed as “an evening of opera hits and favourites performed by six gifted singers,” (well, there were five). Add to this the 60-member Manitoba Opera Chorus and the Winnipeg Symphony Orchestra (WSO) under the direction of Tadeusz Biernacki and you have yourself an event.

Hosted by the affable and surprisingly humorous general director and CEO of MOA, Larry Desrochers, the evening moved along smoothly, with the varied repertoire and solid performances capturing our attention and emotions.

Canadian soprano Joni Henson was first up with “Ebben! Ne andrò lontan” from Catalani’s La Wally. Henson displayed superb control and a fully refined tone that made for a dramatic and very poised delivery. No lack of power here, as she took the aria from subtle to intense, building gradually to a vivid conclusion.

Later in the evening, Henson transformed herself into Rusalka from Dvořák’s opera of the same name in the beautiful “Song to the Moon.” She was spot on with the requisite delicacy, balanced with just the right dose of authority. Best of all — she sang with a true sense of joy.

Baritone Pierre-Étienne Bergeron was less successful as Don Giovanni in his duet “Là ci darem la mano” with Zerlina, sung by mezzo-soprano Lauren Segal. His light voice didn’t carry well and only served to emphasize the richness of Segal’s tone and delightfully crisp, clear delivery. The two blended nicely in the tutti sections, although Bergeron tended to reach for his upper register.

In the famous Champagne Aria, “Fin ch’han dal vino,” he opted for a subtle approach, when it really needed swagger and a bit of bluster. Lacking the power to penetrate the hall, he was drowned out by the WSO — a shame, as what we could hear of Bergeron sounded pleasant. It would be good to hear him again with a few more productions under his belt.

Segal showed her impressive range in “O mio Fernando” from La Favorita by Donizetti. Finely crafted lines and convincing acting made us feel her sorrow. The beautiful harp and French horn solos added to the bittersweet ambiance of this aria.

Filling in for the ailing Pomeroy was American tenor Jeffrey Springer, who almost brought the house down. He had us riveted to our seats in his spine-tingling rendition of “E lucevan le stelle” from Puccini’s Tosca. With expression to spare, he exuded passion and longing. In “O soave fanciulla” from La Boheme, you’d have sworn he was on a full set instead of a sparse concert stage the way he brought the story to life. The only artist to move around the stage (much appreciated by audience members stage left), his expansive voice and expressive execution thrilled listeners. His final note dripped with sweetness.

The opera chorus emerged between soloists with familiar choruses that had audience members swaying from side to side and smiling. “Va, pensiero” from Verdi’s Nabucco was truly uplifting, with the WSO bouncing along in an Alberti bass line. Nicely phrased, this had a rousing glow that was entirely refreshing. Biernacki’s energy never wavered, his ease with the score a result of years of experience.

Veteran bass-baritone David Watson made a few brief appearances, most notably given the honour of performing the final aria of the night. As the villainous police chief Baron Scarpia from Tosca, he brought his reliably resonant voice to “Va Tosca (Te Deum).” Watson sang with great dramatic conviction and, with the eerie church bells chiming, strains from the organ and the big bass drum tolling, this was a masterful finale.

Gwenda Nemerofsky

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):