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

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

OPERA TODAY ARCHIVES »

Performances

Beth Clayton as Carmen [Photo courtesy of http://www.bethclayton.info]
19 Nov 2010

Carmen, Arizona Opera

On Saturday November 13 and Sunday November 14, 2010, Arizona Opera presented Bernard Uzan’s rather different take on Bizet’s Carmen.

Georges Bizet: Carmen

Carmen: Beth Clayton (November 13, 19, 21), Jossie Perez (November 14, 20); Jose: Fernando de La Mora (November 13, 19, 21), Garett Sorenson (November 14, 20); Micaela: Janinah Burnett; Escamillo: Luis Ledesma; Zuniga: Peter Volpe; Frasquita: Rebecca Sjöwall; Mercedes: Stephanie Foley Davis; Remendado: Cameron Schutza; Don Cairo: Kevin Wetzel; Morales: Kevin Wetzel. Conductor: Joel Revzen. Director: Kay Walker Castaldo.

Above: Beth Clayton as Carmen [Photo courtesy of http://www.bethclayton.info]

 

All of the action was moved into a bullring with choristers and even some audience members sitting above it in the arena seats. Uzan and Michael Baumgarten designed the scenery. Patricia A Hibbert created the period costumes and in Arizona, stage director Kay Walker Castaldo told the story in a more or less straightforward manner. Thanks to Baumgarten’s atmospheric lighting, one could imagine Lillas Pastia’s Tavern or a mountain pass on a dark night inside that bullring.

Artistic Director and Principal Conductor Joel Revzen led the Arizona Opera Orchestra in a brisk and powerful rendition of the score. The Carmen and Don José on Saturday evening were American mezzo-soprano Beth Clayton and Mexican tenor Fernando De La Mora. Clayton had considerable difficulty in the first act and her Habanera was sometimes out of tune but her seductive looks worked their magic on much of the audience. De La Mora has a robust voice and he used it to excellent effect. Both vocally and physically, he was a strong, virile lover.

Jossie-Perez.gifJossie Perez [Photo courtesy of Columbia Artists Management Inc.]

Sunday afternoon’s cast offered Puerto Rican mezzo-soprano Jossie Perez as Carmen and American tenor Garrett Sorenson as Don José. Perez is a sex kitten who sings with colorful chest tones so she makes a fine Carmen. Sorenson, a tenor with an exciting sound, was a dramatic José whose Flower Song garnered a number of bravos. He is definitely a singer to watch. Another new singer who may have a good career ahead of her is the radiant-voiced Janinah Burnett. Her Micaëla was a brave young woman who tried her best to save José and sang her aria with floods of iridescent tone.

Mexican baritone Luis Ledesma looked totally authentic as Escamillo, the bullfighter, and he sang with a strong polished sound. Peter Volpe was a stentorian Zuniga who commanded the stage. Studio members Cameron Schutza and Kevin Wetzel were eminently praiseworthy as El Remendado and El Dancaïro. Their feminine counterparts Rebecca Sjöwall and Stephanie Foley Davis suffused their phrases with emotion as Frasquita and Mercédès. Sjöwall has lovely high notes and they were most welcome in this opera where the title role is sung by a mezzo.

This production contained a good bit of Flamenco and ballet featuring Dance Captain Adam Cates and a group of nine powerful but graceful dancers. Peggy Hickey’s choreography evoked many images of France and Spain, even bringing to mind a painting or two. The performances of this Carmen next weekend in Phoenix should be a most worthwhile addition to the city’s fall season.

Maria Nockin

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):