Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

Sophie Karthäuser, Wigmore Hall

Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.

Ariadne auf Naxos, Royal Opera

‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.

Leoš Janáček : The Cunning Little Vixen, Garsington Opera at Wormsley

Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.

La Traviata in Marseille

It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).

Madama Butterfly in San Francisco

Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.

Luca Francesconi : Quartett, Linbury Studio Theatre, London

Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.

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):