Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Mahler Songs : Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

OPERA TODAY ARCHIVES »

Reviews

Rebecca Choate Beasley as Cloris and Ann Monoyios as Zéphyre [Photo by Julie Lemberger]
21 Oct 2010

Rameau’s Zéphyre, New York

In sports they say, “Winning isn’t the most important thing—it’s the only thing.” In the theater, getting the show on the boards out front is the key.

Jean-Philippe Rameau: Zéphyre

Zéphyre: Ann Monoyios; Cloris: Rebecca Choate Beasley; Diane: Lianne Coble. The New York Baroque Dance Company, Catherine Turocy artistic director. Concert Royal, directed by James Richman. Symphony Space, September 22.

Above: Rebecca Choate Beasley as Cloris and Ann Monoyios as Zéphyre

All photos by Julie Lemberger

 

All else is, if not irrelevant, subservient: the look, the style, the star, the archival accuracy. You can pull any strings you like; just get out there and dance. Or sing.

For instance: You have rehearsed your company of dancers to present a court opera-ballet of mid-eighteenth century Versailles and you have got the proper sort of band to play it, and the dancers trained in the proper style, the graceful mincing steps, half-mime, half-dance, including the sheep and goats who stalk like sheep and goats with a dainty little waver-step, and attendants to the wind god who spread their violet cloaks as they leap into the air—but you have no tenor to sing the title role of the amorous (and, meteorologists tell us, prevailing) West Wind. Now, Rameau is no stand-up-and-belt opera composer. Refinement of accent and affect is called for to put him across. The voice need not—should not—be enormous, but the clarity of feeling as expressed by melody and ornament and pose are necessary to make the proper case for his elegant music. These are skills not often demanded of singers who prepare for opera; they are more suitable to Early Music singers, happily a far from rare breed in this new era.

So Catherine Turocy’s New York Baroque Dance Company, finding itself untenored, constructed its production of Rameau’s Zéphyre around a soprano, Ann Monoyios, once a reigning diva of the local Early Music scene, and got around the story’s mythic inconsideration with the announcement that she was portraying Madame de Pompadour, king’s muse and star of all the local theatricals in her glory days, as she might have presented a little Rameau pastorale for a few invited and exalted guests in the little theater at Versailles. Once that premise is accepted, we don’t even need to dress her in trousers. She’s in charge, she’s paying the bills, and if she wants to sing the boy’s part, God bless her.

Monoyios, whom I had not heard in decades, sounds a much younger woman than she could possibly be. Early Music does not take the toll on the cords that belting does, and her graceful phrasing, curlicue ornaments at meaningful times, and truth of character were extremely pleasing on this occasion, if a dryness did set in by the end of it. Rebecca Choate Beasley, as the object of her/his affections, did not have much to do but showed a sweet lyric line. James Richman’s Concert Royal gave sprightly accompaniment.

unicorn.gifAlexis Silver tempting the Unicorn danced by Valerie Shelton Tabor

Sets and costumes are half the battle in this sort of entertainment; at Symphony Space there was no set to speak of, but the company’s costumes (not credited to any particular designer) accomplished a great deal of scene-setting. Zéphyre was preceded by brief dances from several other Rameau works, including enough mythic animals (unicorns, fauns, gnomes) dancing in courtly but appropriate style to fill a whole new HBO supernatural series.

John Yohalem

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):