24 Oct 2010
Divas and Divos Concert, Manitoba
It’s every opera director’s nightmare.
In May of 2013, the Spire Series at the First Presbyterian Church in Baltimore, Maryland, observed the fiftieth anniversary of the death of President John F. Kennedy by presenting a work dealing with the 1963 assassination.
Dulce Rosa, a brand new opera, had its world premiere Friday night, May 17, 2013 at the Broad Stage in Santa Monica, California. It was produced by Los Angeles Opera, but staged in the smaller theater.
Richard Jones’ 2009 production of Verdi’s Falstaff translates the action from the first Elizabethan age to the start of the second.
Baritone Gareth John is rapidly accumulating a war-chest of honours. Winner of the 2013 Kathleen Ferrier Award, he recently won the Royal Academy of Music Patrons’ Award and was presented the Silver Medal by the Worshipful Company of Musicians.
This second revival of Jonathan Miller’s La bohème was the first time I had caught the production.
It’s Verdi’s bicentenary year and Rolando Villazón has two new CDs to plug — titled somewhat confusingly, ‘Villazón: Verdi’ and ‘Villazón’s Verdi’, the latter a ‘personal selection’ of favourite numbers performed by stars of the past and present.
Nicola Luisotti and the San Francisco Opera Orchestra climbed out of the War Memorial pit, braved the wind whipped bay and held spellbound an audience at Cal Performances’ Zellerbach Auditorium at UC Berkeley.
Utterly mad but absolutely right — Richard Strauss’s Ariadne auf Naxos started the Glyndebourne 2013 season with an explosion. Strauss could hardly have made his intentions more clear. Ariadne auf Naxos is not “about” Greek myth so much as a satire on art and the way art is made.
“Man is an abyss. It makes one dizzy to look into it.” So utters Georg Büchner’s Woyzeck, repeating what was also a recurring motif in the playwright’s own letters.
National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.
Once upon a time, Frankfurt Opera had the baddest ass reputation in Germany as “the” cutting edge producer of must-see opera.
Productions of Giuseppe Verdi’s Rigoletto can serve as a vehicle for individual singers to make a strong impression and become afterward associated with specific roles in the opera.
Just in case we were not aware that the evening’s programme was ‘themed’, the Britten Sinfonia designed a visual accompaniment to their musical exploration of night, sleep and dreams.
Poor Aida! She never seems to have anything go her way.
Is it possible to upstage Jonas Kaufmann? Kaufmann was brilliant in this Verdi Don Carlo at the Royal Opera House, London, but the rest of the cast was so good that he was but first among equals. Don Carlo is a vehicle for stars, but this time the stars were everyone on stage and in the pit. Even the solo arias, glorious as they are, grow organically out of perfect ensemble. This was a performance that brought out the true beauty of Verdi's music.
The big names were absent: Duparc, D’Indy, Debussy, Ravel and while Fauré, Chausson, Roussel and several members of Les Six put in an appearance, in less than familiar guises, this survey of French song of the early 20th century and interwar years deliberately took us on a journey through infrequently travelled terrain.
Composed between 1718 and 1720, Handel’s Esther is sometimes described as the ‘first English Oratorio’, but is in fact a hybrid form, mixing elements of oratorio, masque, pastoral and opera.
Hector Berlioz's légende dramatique, La Damnation de Faust, exists somewhere between cantata and opera. Berlioz's flexible attitude to dramatic form made the piece unworkable on the stages of early 19th century Paris and his music is so vivid that you wonder whether the piece needs staging at all.
St. John’s Smith Square was the site of Elizabeth Connell’s final London concert, intended as a farewell to London on her moving to Australia. It was rendered ultimately final by her unexpected death.
With the building of the Suez Canal, Egypt became more interesting to Western Europeans. Khedive Ismail Pasha wanted a hymn by Verdi for the opening of a new opera house in Cairo, but the composer said he did not write occasional pieces.
It’s every opera director’s nightmare.
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.