24 Oct 2010
Divas and Divos Concert, Manitoba
It’s every opera director’s nightmare.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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.