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Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
24 Oct 2010
Il Postino at Los Angeles Opera
An American opera house premieres a new work by a Mexico-born composer, to his own libretto in Spanish based on a film in Italian by an English director about an unlikely friendship the Chilean poet Pablo Neruda found when in exile on a small Italian island.
Such wonderfully polyglot origins promise a more original and creative opera that Daniel Catán’s Il Postino turns out to be (Catán chose to keep the original Italian title). However, with Placido Domingo’s starpower and an endearing portrayal of the title character by Charles Castronovo, the Los Angeles Opera audience on the second night of the opera’s premiere run found much to applaud.
Catán is best known for Florencia en el Amazonas, his 1996 work that has enjoyed a fair number of performances since its debut, although a house as prestigious as the Metropolitan Opera, for example, seems to have no interest. Reviews of Catán’s music for his latest work still rely on comparisons to more famous composers for reference. The strongest element of Il Postino’s score is rhythmic; Catán often employs unusual meters and phrasing that give a sort of stutter-step feel to some of the music. His orchestration is colorful, if somewhat reliant on string outpourings at moment of dramatic and romantic effusion. Somehow he manages the trick of writing music with a melodic tinge without actually creating any strong melodic ideas. An impassioned rising motif that slowly resolves to the tonic pops up fairly frequently in the score, especially in the music for Mario Ruoppolo, the title character. Unfortunately, this one bit really does sound like Puccini - specifically, like a phrase from the score for La Rondine. Other than that, it’s wrong to call Catán’s music Puccini-esque - Catán has neither the melodic facility or grasp of using music to push the drama forward, rather than merely underscore it. If comparisons must be made, your reviewer heard a fair amount of Copland-like dance rhythms and sparse but attractive harmonies.
But his music is stronger than his libretto. The first two acts were given without intermission, and Catán chose to follow a screenplay’s quick changing scene formulation. So first we meet Mario at his humble home, and then from backstage a simple set rolls out depicting Neruda’s home in exile. This happened over and over, while a rather banal love story for Mario and a superfluous subplot about a corrupt politician and the island’s water supply interrupt the growing bond between the famous poet and his naive but charming postman. The last act’s storytelling really gets crude, with Vladimir Chernov’s Giorgio running on every couple minutes with some news about Neruda’s travels away from the island, and even a couple of awkward news-reel interpolations.
Still, by the time of the final scene, some emotional weight has been earned, and when the regretful Neruda is joined on stage by Mario (even though the character has died off stage at this point), most any viewer will be moved. Catán’s music is also at its best here - he stops trying to force a climax and lets the gentle story end with some lovely soft singing from the two male leads.
Domingo was excellent in the role of Neruda, although the lower part of his voice was surprisingly weak, given his recent forays into baritone territory. Catán gives all the main characters aria-like moments, and Domingo’s Neruda starts off with a hymn to his wife’s naked body. In fact, Neruda in the opera comes off as more than a bit self-involved and self-pleased, making Mario’s affection for the famous older man seem just a bit odd and obsessive. Nonetheless, Charles Castronovo, light-voiced though he may be, made his simple, love-besotted postman a real figure. The original casting had set Rolando Villazon for the role, who might well have covered the character's pathos with on-stage hi-jinks. As Mario’s love interest Beatrice, Amanda Squitieri sang out, sometimes covering her tenor co-star. Her opening aria, a self-introduction, is one of Catán’s weaker moments - dramatically inept and unmemorable musically. Cristina Gallardo-Domas has little to do as Neruda’s wife, and Nancy Fabiola-Herrera, as Beatrice’s gun-toting mama, got a few laughs.
Amanda Squitieri as Beatrice and Charles Castronovo as Mario Ruoppolo
Conductor Grant Gershon managed the trickier rhythms of the score well. Director Ron Daniels couldn’t do much to ameliorate the wearing effect of the frequent scene changes, but he did elicit strong acting performances from the singers. Riccardo Hernandez created some nice costumes, but Los Angeles Opera’s budget restraints didn’t give him much to work with. In act three the budget seems to have run out altogether; other than a ridiculous set of pipes for the promised water system, the act mostly plays out on a bare stage, with some unimpressive projections and newsreel footage (designed by Philip Bussmann).
If Domingo chooses to, he can take Il Postino around the world to some of the more prestigious opera houses. It’s certainly a pleasant show, even a crowd-pleaser. But the opera’s long-term prospects don’t seem any more promising than those, say, of the U.S. Postal Service.