31 Dec 2010
December at Los Angeles Opera: Lohengrin and Rigoletto
At the end of November Los Angeles Opera brought two productions to the stage of the Dorothy Chandler Pavilion.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At the end of November Los Angeles Opera brought two productions to the stage of the Dorothy Chandler Pavilion.
At the end of November Los Angeles Opera brought two productions to the stage of the Dorothy Chandler Pavilion. Debuting first was a new production of Richard Wagner’s Lohengrin, which received one of the most harshly sarcastic reviews from the Los Angeles Times within memory, the writer taking the easy opportunity to equate the premiere over Thanksgiving weekend with the term “turkey.” The Rigoletto that premiered a few nights later earned itself much more a favorable response in the same paper. Seen later in their runs by this reviewer, the impressions were not necessarily reversed, but certainly it can be said that the Lohengrin had settled down into a mostly satisfying show with a few amazing strong points, while the Rigoletto, while enjoyable, provided a decent but not all that memorable night at the opera.
Placido Domingo’s initial year as General Director of Los Angeles Opera began shortly after the terrible events of September 11, 2001, with a new production of Lohengrin. That production was scrapped this season for a new one directed by Lydia Steier, with scenery and costumes by Dirk Hofacker. In Steier’s vision, the action took place in an era reminiscent of World War I, in the ruined shell of a building vaguely governmental or cathedral-like. On a turntable, the set revolved sometimes to place action just outside the over-sized doors to the ruin. Steir has a background in choreography, which was evident in the stylized movement of the Brabant populace — the men either shell-shocked or brutes in uniform, and the women nurses or easy prey for the sexual aggression of the soldiers. In the opening scene, shadow-lit behind a tent, a doctor amputates a leg and seemingly loses the patient — while a nurse brings out the severed appendage for disposal, another nurse inside the tent places a blanket over the body. After Friedrich of Telramund makes his accusation of fratricide against Elsa, it is from this tent that Lohengrin emerges — in soldier’s uniform, with silver-plating from the knee down on one leg.
Clearly Steir is playing with the libretto’s mixture of the miraculous within the context of a militaristic society. Those who complained that a swan never appeared, therefore, had to have ignored the flags of victory festooning the stage in act three — Lohengrin’s prosthetic leg of metal emblazoned on some and a swan on the others. Ultimately, a viewer of any production can decide how deeply he or she wants to consider a director’s vision — in this case, anyone ill-disposed to directorial insight would be expected to dismiss the staging as nonsense, while those more open to alternative visions can decide for themselves whether Steier’s ideas came together or never quite melded into a coherent presentation (and probably an under-rehearsed opening night led to the unfortunate notices referenced above). At any rate, the production had some lovely moments, as snow fell over the ruin and the backscreen projections provided sweeping views of a devastated landscape beneath glowering but gorgeous skyscapes. In a nicely managed theatrical coup, Lohengrin disappears at the end back into the tent from which he emerged, and a moment later, the tent comes down to reveal Elsa’s brother standing on the hospital bed.
Dolora Zajick as Ortrud and Soile Isokoski as Elsa
Ben Heppner’s career has been dogged in recent years by vocal struggles, and he started the evening with an unsupported, wobbly voice that disheartened anyone hoping for a “comeback” evening. He slowly recovered a fair amount of control, and though the voice never reached the beauty of his best years, he was doing quite well until a couple of small breaks in his closing moments diminished his success. The costumes did not flatter him, but otherwise he gave himself over to the concept and portrayed an otherworldly creature who quickly finds himself disenchanted with the more “normal” folk of Brabant.
Soile Isokoski’s overdue debut with the Los Angeles Opera found the soprano in wonderful voice, her gentle Elsa also far from home among the Brabant crowd, and yet not confident enough to give herself over to the man who has come to rescue her. Isokoski’s instrument is not the largest, but in all the big moments the voice was there — controlled yet autonomous, with an aching beauty in the middle. In the classic act two confrontations with Ortrud, Isokoski held her own against the powerhouse performance of the evening, from Dolora Zajick, in an amazing role debut. Zajick’s aggressive top fits the role of Ortrud well, and she threw herself into the strong-willed character's scheming aggression. Zajick’s tour de force did take away somewhat from James Johnston’s Friedrich, a bit more pallid vocally that one would like, but strongly inhabiting the part of a man grasping frantically at the shreds of his dignity.
George Gagnidze as Rigoletto and Sarah Coburn as Gilda
James Conlon and the LAO orchestra took a while to settle themselves, the prelude not having the ideal ethereal quality. But when the score let loose, the orchestra was there, and the horns in particular had a successful night. Rigoletto showed Conlon in total command a few nights later, with all the energy matched by a feel for the rare tender moments in Verdi's masterpiece.
The Mark Lamos production, borrowed from San Francisco, takes the stylistic conceit of appropriating the painter Giorgio de Chirico’s city blocks of ominously muted pastels. The spare sets serve the story well enough, though it seemed odd that minutes-long pauses were required (one in the act on scene change and one after intermission, between the last two acts) when not all that much changed on stage. So in place of interpretation the opera-goer gets a nice looking production, with the important consideration that the sets allow the singers to step forward and project to the audience a great deal of the time.
In the title role George Gagnizde offered a sizable voice and a physique to match one’s expectations. If he lacked that last trace of unique personality that makes for a great portrayal, he still had much to offer. The Chandler audience was as besotted as Rigoletto with his daughter, sung with beauty and taste by Sarah Coburn. In a house not always known to be friendly to lighter voices, Coburn demonstrated that her lyric instrument has an unexpected carrying power. Her Gilda fell for a reasonably good-looking Duke, sung by Gianluca Terranova, who did best with the more energetic numbers that open and close his role. His big act two aria needed more elegance. While not a huge voice, it is ample enough, and he may develop into a more interesting tenor. Andrea Silvestrelli is one of the great Sparafucile’s, his lean physique as perfect for the character as is his menacing, cavernous bass. Kendall Gladen as his sister made the most of her brief time on stage. She has the type of charisma that can make a mezzo a star Carmen or Dalila.
Sarah Coburn as Gilda and Gianluca Terranova as Duke of Mantua
It was a very full and happy house for the Rigoletto, and the mid-week Lohengrin had a substantial attendance as well, and one that mostly stayed until the 11pm conclusion. This year’s shorter season will wrap up by April, after two more productions. In a few weeks, the announcement of the 2011-2012 season for the Los Angeles Opera will reveal just how well the company has come through some times bordering on, if not encroaching into, the desperate. But at least on the stage, as of this December — this is a strong and forward-looking company.