24 Oct 2010
Divas and Divos Concert, Manitoba
It’s every opera director’s nightmare.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
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.