07 Nov 2010
Intermezzo, New York City Opera
Pace Tolstoy, happy marriages are not all alike, but they require a lot of work.
The New York Festival of Song, founded in 1988 by Michael Barrett and Steven Blier, offers unique evenings of songs rarely heard, or songs rarely heard in conjunction with one another.
Falstaff and Die Meistersinger are among the pinnacles if not the pinnacles of nineteenth century opera. Both operas are atypical of the composer and both operas are based on a Shakespeare play.
To borrow from the great Bard himself: “the course of true love never did run smooth.”
Florencia in el Amazonas was the first Spanish-language opera to be commissioned by major United States opera houses.
Gaetano Donizetti wrote a comedy or dramma giocoso called Le convenienze ed inconvenienze teatrali (The Conventions and Inconveniences of the Theater), which is also known by the shorter title, Viva La Mamma!.
Vincenzo Bellini composed Norma to a libretto that Felice Romani had fashioned after Alexandre Soumet’s French play, Norma, ossia L'infanticidio (Norma, or The Infanticide).
In order to mount a successful production of Alban Berg’s opera Wozzeck, first performed in 1925, the dramatic intensity and lyrical beauty of the score must become the focal point for participants.
During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704).
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà — a chanteuse raised from the backstreets to the bright lights — is a walking compendium of emotions.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
Pace Tolstoy, happy marriages are not all alike, but they require a lot of work.
I am not referring to the hectic happy marriage of Richard and Pauline Strauss, the model on which Strauss constructed Intermezzo, his portrait of the composer at home with the non-stop assault of his termagant wife accusing and blaming and admitting she’d find it dull to live with someone who didn’t fight back. I’m referring to the supremely happy marriage of artist and role (which, like any happy marriage, calls for luck and hard work) now on offer at the New York City Opera, where Mary Dunleavy has taken on the shrewish coloratura flights and turn-on-a-dime changes of mood that are Christine Storch.
Dunleavy’s honeyed voice resembles that of Renée Fleming before that grande dame became so affected and spoiled. I first heard Dunleavy’s sturdy lyric soprano as that roughest of dramatic coloratura workouts, Konstanze in Mozart’s Seraglio, and a woman who can handle Konstanze with credit can probably wrestle tigers. More recently she has been an admired Violetta (which I did not see). I wouldn’t have thought of Christine as a Dunleavy vehicle, perhaps because the part was created for the more opulent vocal charms of Lotte Lehmann, perhaps because the last time the City Opera presented it, the role was taken by Lauren Flanigan. Flanigan’s lyric skills were severely tested by the Strauss orchestra but her voice has a dangerous edge to it that made her an exciting Christine.
Mary Dunleavy as Christine Storch and Nicholas Pallesen as Robert Storch
Dunleavy lacks that edge, but her girlish qualities are stronger than they seem (as was probably also true of Pauline Strauss, for whom her husband wrote so many of his loveliest songs), and she has no problem riding the full blast of a lush orchestra. At moments of stress, a metallic sheen (very Strauss, very Jugendstil, like the gold slathered on a Klimt portrait) gleams through the instrumental texture, which argues not merely ability but craft: Dunleavy knows just how to slice through a heavy orchestra without putting herself under undue strain. Nor did it hurt that, with her marcelled hair and suave twenties costumes, her pert, imperious manner recalled the slangy heroines played by Myrna Loy and Jean Arthur. Add to this a balletic figure and a charm that almost persuades you Christine would be endurable, and you have the finest achievement of a singing actress on New York’s opera stages this fall.
Intermezzo is one of Strauss’s conversational operas—the Prologue to Ariadne and Die Schweigsame Frau are similar—in that, though the score is full of melody, the voice seldom flows into easy, relaxing song. This is a major reason for the opera’s rarity in non-German-speaking lands, but with Dunleavy’s lyricism joining the fragments of sprechstimme and endearment and tirade, I felt as I do with a good Handel or Verdi recitativo accompagnato, that this was more interesting, more full of character, than song would be. Strauss uses the same richly symphonic language for the mythic and grandiose (in operas like Die Frau ohne Schatten and the “operatic” portions of Ariadne auf Naxos) as he does for the day-to-day domesticity of the “Sinfonia Domestica” and Intermezzo. Perhaps he saw no difference between the mythic and day-to-day family discord. Today, with a flood of new operas loosed upon the world dealing with messy everyday lives, neglecting antique myth or historical pageant, perhaps Intermezzo will prove to have been a harbinger of a change in operatic style, just as Strauss’s Elektra was a harbinger of new musical looks at classical Greece.
Mary Dunleavy as Christine Storch and Andrew Bidlack as Baron Lummer
The other triumph, musically speaking, was the lush Strauss score as led by George Manahan, which swept the evening’s welter of events along like the ice skater’s waltz mimed (on in-line skates) in one of Intermezzo’s many locales without drowning the singers. Vocally, the entire cast seemed well chosen and on their toes, as Pauline Strauss (a terror to her housemaids) would no doubt have imperiously insisted. Nicholas Pallesen sang the not quite credible saintly Robert Storch—Strauss’s self-portrait—with suave dignity, though some stretching for high notes implied that he might not have handled a full-sized leading role so easily. Andrew Bidlack as the young parasitical baron that snobby Christine unwarily picks up showed a fine, easy lyric tenor one hopes to hear more of. Jessica Klein was a pleasure as the most put-upon of the maids. A debutante named Tharanga Goonetilleke gave the three lines of the Baron’s girlfriend a deep, sexy contralto throb that made everyone’s ears open wider.
The handsome, stage-smart production was by Leon Major. Andrew Jackness’s sets and Martha Mann’s costumes looked handsome and in period (which is early, respectable Weimar) without evidently straining the budget.