24 Oct 2010
Divas and Divos Concert, Manitoba
It’s every opera director’s nightmare.
‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.
On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.
While Pegida anti-refugee demonstrations have been taking place for a while now in Dresden, there was something noble about the Semperoper with its banners declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as examples.
Opera houses’ neglect of Leoš Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life.
It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
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.