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.
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.
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.
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.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
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.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
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.
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.
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.
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 . . .
‘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.
"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.
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.
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.
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Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.
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).
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.
‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’
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.