23 Nov 2010
Tosca, Manitoba Opera
What some people won’t do for a standing ovation! Saturday night at the opera was a showcase of excesses.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
What some people won’t do for a standing ovation! Saturday night at the opera was a showcase of excesses.
Puccini’s Tosca has everything: passionate love, consuming jealousy, undisguised lust, evil deceit, even murder and suicide. Manitoba Opera’s (MO) mostly Canadian cast rose to the occasion, leaving the audience emotionally spent but invigorated.
Conductor Tyrone Paterson led the Winnipeg Symphony Orchestra from the pit in Puccini’s marvellously dramatic score that foreshadows much of the onstage action. Vigorous playing and superb solo section work throughout provided exactly the added finesse required, making this a first-rate performance.
Veteran director Val Kuinka worked her magic with the help of an exemplary cast. Wendy Nielsen as Tosca and Richard Margison as artist Cavaradossi outdid themselves, portraying the tragic figures with realism and relish. Margison hasn’t lost a step as his extensive career continues. With a tenor voice that’s easy to listen to, he floated effortlessly to his upper range in “Recondita armonia.”
His wistful rendition of the celebrated aria “E lucevan le stelle” in the final act almost broke our hearts, his powerful voice aching with love for his adored Tosca. Totally convincing and touching, Margison crafted this into a real tearjerker and the clarinet solo introducing it was splendidly sensitive, enhancing our anticipation of this favourite.
Talk about art imitating life! Nielsen was outstanding as Tosca — a great actress, putting her entire being into the demanding role of the opera singer title character. With her lovely, refined soprano, she lent her full vibrato and flexible style to the twists and turns of the plot, moving fluidly from jealous lover to desperate murderess. In “Non la sospiri, la nostra casetta,” she showed a diaphanous lightness to her voice, barely alighting on each note before flitting to the next.
Rich phrasing and fervent zeal highlighted her “Visse d’arte, vissi d’amore,” as she sang, collapsed on the floor, disconsolate and despairing, beseeching God for deserting her despite her lifelong piety and humanity. Nielsen is the consummate opera star, with a reliable, mature voice that is completely satisfying. Powerful beyond belief, her dramatic cries of pain reached right into the audience’s hearts.
Wendy Nielsen as Tosca and Richard Margison as Cavaradossi [Photo by R. Tinker courtesy of Manitoba Opera]
Baritone Gaétan Laperrière returned to MO in the role of villainous chief of police Baron Scarpia. Dressed to the nines in black with gold braiding and trim, he looked every inch a self-indulgent scoundrel bent on getting his way. Yet Laperrière’s first entry was soft - barely discernible. His “Va Tosca!” was overly subtle, lacking power. And while his voice had agreeable resonance and flow, one wanted him to boom a little more, and strike fear into our hearts. Laperrière’s actions and words were suitably despicable, but his delivery belied his villainy. Frequent wooden movements were also questionable.
Peter Strummer’s droll Sacristan, on the other hand, was completely endearing. Announcing his arrival onstage with several healthy sneezes, he was a natural in this comic role. His bass-baritone made “E sempre lava!” a breath of fresh air before the drama to come. He has his gestures down to an art and gave us the only laughs of the evening.
Supporting roles by David Watson (Angelotti/Sciarrone), Keith Klassen (Spoletto) and Howard Rempel (jailer) were all solid and credible and Carson Milberg was a sweet-voice shepherd boy offstage. Acoustics can be tricky with offstage singing and it may be wise to station Milberg closer to the curtain to ensure the audience can fully appreciate this musical lad’s talents.
Wendy Nielsen as Tosca and Gaétan Laperrière as Scarpia [Photo by R. Tinker courtesy of Manitoba Opera]
The chorus is not especially busy in Tosca but certainly came through well when called upon and costuming was truly impressive.
The three sets were amazingly ornate and detailed, transporting us easily to 19th century Rome, and but for some shaky spotlighting, Bill Williams lighting was mood-setting splendour.