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.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
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.