Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

The Bandits in Rome

AKA I masnadieri, rare early Verdi, though not as rare as Alzira. In 1847 London’s Her Majesty’s Theatre  commissioned the newly famous Verdi to write this opera for the London debut of Swedish soprano Jenny Lind.

OPERA TODAY ARCHIVES »

Performances

Jessica Coker as Shawntel [Photo by Ben Krantz Studio]
24 Oct 2010

Jerry Springer, The Opera in San Francisco

The fall opera season in San Francisco has been dealt a wild card — Jerry Springer, The Opera! Not exactly material for SF’s august opera company . . .

Richard Thomas: Jerry Springer, The Opera

Jerry: Patrick Michael Dukeman; Steve: Wilkos Keith Haddock; Security: Bill Tankovich, Tom Farris, Tracy Camp; Baby Jane: Rebecca Pingree; Shawntel/Eve: Jessica Coker; Zandra/Irene Mary: Jordan Best; Andrea/Archangel: Mia Fryvecind; Jonathan/Satan: Jonathan Reisfeld; Dwight/God: Steve Hess; Montel/Jesus: Manuel Caneri; Tremont: Timitio Artusio; Valkyrie: J. Conrad Frank. Stage Director: M. Graham Smith. Music Director: Ben Prince. Choreogroapher: Chris Black. Scenic Desigh: Maya Linke. Costume Design: Margaret Shitaker. Lighting Design: Dustin Snyder. Sound Design: Sound Productions.

Above: Jessica Coker as Shawntel [Photo by Ben Krantz Studio]

 

but just right for SF’s Ray of Light Theatre!

This charming piece was once famous for its shock and disgust value. These days these values are little more than innocent subject matter for a shock and disgust theater genre. How riled up can you get when the little biscuit that is the symbolic body of Christ is thrown onto the floor, or Jesus is told to put his f***ing clothes back on, or for that matter witnessing God beg Jerry for his guidance? Plus the ca ca doo doo pee pee factor is non-stop as is every sexual proclivity you can imagine and then some, not to forget the swell of awe one felt when Jerry threw the Gettysburg Address into the general blasphemy.

All this is old hat, and was old hat even before Jerry Springer, The Opera took London by storm back in 2003, and entered the British cultural mainstream in 2006 through a kingdom-wide BBC telecast. Jerry Springer, The Opera is very British, our chic British cousins finding no one more appropriate for making fun of than us Americans. It is true, we are open and we let it all hang out (well, we don’t have a queen to look up to as an example of discretion).

It is very well made theater, operatic in theme — infidelity and forgiveness with a big dose of revenge. It is operatic in structure with an earthy exposition (see above) that thrusts the wounded Jerry (he was shot) into a hospital purgatory. It culminates in heaven (which serves also as hell) where Jerry’s death is truly operatic, i.e. too long and utterly implausible that anyone so close to death has so much breath. [N.B. the real Jerry Springer is still on the air.]

It is well made music, its structures and harmonies complex in the extensive choruses. The huge ensembles were crowned by above-the-staff voices, the duets were bona fide Baroque contests, the extensive vocal ornamentation was dramatically motivated, and the crooning was silken.

Not yet a repertory piece (only now does it have this U.S. west coast premiere) and it may never attain such status, such is the fate of the shock and disgust genre. It is however pointedly deserving of this status as it offers challenging roles for performers, from the spoken-only role of Jerry, the crooning of his nemesis, the Valkyrie voice of his conscience, the devotion of his goons, to the comic and quite complicated and delightfully wrecked humans beings whom only a Jerry can understand. Roles that could be developed in infinite levels of vocal and histrionic sophistication.

So how did Ray of Light Theatre fare with such material? Pretty f***ing well based on the resources of San Francisco’s equivalent of Off-Broadway. Patrick Michael Dukeman was a convincing, even moving Jerry Springer (though I confess I have never laid eyes on the real thing for comparison). The ensemble roles were thoughtfully cast and when finesse was lacking (often) it was compensated by volume. The twenty-six choristers executed their music with aplomb and infused a joie de vivre appropriate to responsive voyeurs.

The slick production was directed by M. Graham Smith and was moved along adroitly by music director Ben Prince. These gentlemen kept us on the edge of our seats for nearly three hours (though the program booklet warned us there would be an overly long intermission as an overflow of folks (300 plus) would need to piss [sic] in but two stalls).

Michael Milenski

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):