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 Reviews

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

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.

OPERA TODAY ARCHIVES »

Reviews

Svetla Vassileva as Cio-Cio-San [Photo by Cory Weaver courtesy of San Francisco Opera]
24 Oct 2010

Madama Butterfly in San Francisco

“One of the most beautiful sets I have ever seen,” crows San Francisco Opera general director David Gockley over the airwaves, “directed by Broadway legend Hal Prince.”

Giacomo Puccini: Madama Butterfly

Cio-Cio-San: Svetla Vassileva; Lt. B. F. Pinkerton: Stefano Secco; Suzuki: Daveda Karanas; Goro: Thomas Glenn; Sharpless: Quinn Kelsey; Prince Yamadori: Austin Kness; The Bonze: Christian Van Horn; Kate Pinkerton: Sara Gartland; Aunt: Ann Flandreau Hughes; Mother: Rachelle Perry; Cousin: Carole Schaffer; Uncle Yakuside: Christopher Jackson; Official Registrar: Jere Torkelsen; Imperial Commissioner: Bojan Knezevic; Trouble: Rebecca Chen. Conductor: Nicola Luisotti. Production: Harold Prince. Director: Jose Maria Condemi. Set Designer: Clarke Dunham. Costume Designer: Florence Klotz. Original Lighting Designer: Ken Billington. Lighting Designer: Christine Binder.

Above: Svetla Vassileva as Cio-Cio-San

All photos by Cory Weaver courtesy of San Francisco Opera

 

He is trying to sell twelve performances of Puccini’s masterpiece presumably to the unwashed hordes who flocked to to see Aida simulcast from the opera house onto the scoreboard of the local baseball stadium. The problem is once you have got them inside the War Memorial what do they see?

No doubt Hal Prince is a brilliant Broadway director. Soon after his opera exploits (Willie Stark in 1981 [more a Broadway musical than an opera], Madama Butterfly in 1982 and Turandot in 1983) he went on to direct Phantom of the Opera (1986), the longest running musical in history.

SecKelemail.gifStefano Secco as Lt. B.F. Pinkerton) and Quinn Kelsey as Sharpless

Yes, this is the Madama Butterfly he staged for Lyric Opera of Chicago. It caused a lot of excitement back in 1982, after all those theatrically savvy Broadway folks know how to put on a show. There was a national telecast so the production is well known, but back then the lighting seemed far darker so it was harder to see the Kabuki theater knock-off Koken spin the set, and it is harder yet to recall the staging itself after these 28 years.

In San Francisco just now those ninja-like Koken (lithe figures in black body stockings) convincingly simulated the massive efforts needed to turn the huge, fairytale, Las Vegas worthy love nest of Pinkerton and Butterfly. They were quite apparent, forcing the same question that arose back then — what does hyper-stylized Kabuki theater have to do with verismo (realistic) opera?

The answer is about as much as Broadway has to do with verismo opera. The play Madame Butterfly on which Puccini based his opera is by San Francisco’s own David Belasco. It is the American equivalent of théâtre guignol or French horror theater, a frequent Puccini muse. In Belasco’s Butterfly Cho-Cho-San’s horrific suicide is carefully prepared within grubby circumstances. It is reality best experienced, if you must, from a seat in a theater.

Broadway is typically fast and easy. There is lots of stimulation created by frequent scenic movement and lots of color. The story is direct and emotions are obvious. Thus in the Prince Butterfly the set is spun and spun, the colors are seductive and glittery. Butterfly boldly sheds her kimono in favor of American apparel. But the bright gold of her bustled Victorian dress belied three years of wear and the condition of extreme poverty required by the story. It did have requisite Broadway flash.

KarVasemail.gifDaveda Karanas as Suzuki and Svetla Vassileva as Cio-Cio-San

The Butterfly was the diminutive Svetla Vassileva, a veteran of the world’s big stages to be sure but also an artist of considerable depth, and one who is game for interesting contemporary productions. Her Butterfly is intrinsically Belasco’s geisha, physically and emotionally clumsy (after all she is fifteen years old), simple and very honest. She is not a geisha who makes it to Broadway.

Nevertheless the misplaced glitz of the production faded in her presence, leaving Mme. Vassileva alone on stage to carry Butterfly’s tragic burden, and that she did, to a degree. She is in fine voice — a young and healthy one — well schooled in verismo technique. She tirelessly delivered all the great scenes. The production betrayed her in its absence of reality, her lover seemed a confused kid who found himself in an opera production because he sings well. The balance of the casting showed blatant disregard for the needs of both Belasco and Broadway, and Puccini too wants heavier, Italianate voices. Even the genius of San Francisco Opera’s quixotic conductor Nicola Luisotti could not save the day, though he tried with a breathtaking coda.

But don’t just take my word for it. Check out the video excerpt on the San Francisco Opera website.

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):