15 Feb 2011
The Chill of Grace: A Winter Weekend at COC
At the moment, it seems inevitable that John Adams’ 1987 opera Nixon in China will become a fixture in the repertoire.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
At the moment, it seems inevitable that John Adams’ 1987 opera Nixon in China will become a fixture in the repertoire.
James Robinson’s stylish and imaginative production from 2004, revived this season by the Canadian Opera Company, illustrates that this opera indeed has a life beyond that imagined by its creators. In fact, viewing Robinson’s Nixon in quick succession with creator Peter Sellars’ recent restaging at the Metropolitan Opera confirms the impression from 2004 that this opera will provide inspiration for creative teams for generations to come. In the instance of Robinson’s production (originally designed for Opera Theatre of Saint Louis), the integrative video design revolutionizes the use of projections within opera by timing visual sequences so intimately with the music that the result is practically a new visual libretto. The chosen images are astute as well as visually stunning, as in the top of Act II when static on the television screens created a snowy landscape. The televisions themselves were used as modular architecture throughout the opera; descending from the sky en mass, acting as a dais for speeches, and evoking individual spaces (perhaps even headboards) for each of the characters during Act III.
Marisol Montalvo as Chiang Ch’ing (Madam Mao) (front) and Megan Latham as Third Secretary to Mao (behind)
Robinson, his design team, and the cast have struck a fine balance that divides the story-telling between the live action onstage and the use of video while simultaneously blurring the distinctions between the two elements. At times, the characters strike poses as if captured within a snapshot and these moments of heightened realism integrate beautiful with the meta-commentary both on the screens and built into Adams’ score. Furthermore, despite the inherent challenge of portraying historical figures, the majority of the cast does an excellent job of breathing inner life into what could become caricatures. Robert Orth could scarcely act the role of Nixon better, but he could have afforded to sing with more beauty of tone at least some of the time. In particular, the moment when Nixon speaks of fathers and sons joining hands in peace would have been even more effective had Orth sung more like a baritone and less like a president. As the Chinese Prime Minister Chou En-lai, Chen-Ye Yuan was quietly compelling from the very beginning through the opera’s haunting last line.
Like the real Henry Kissinger, Thomas Hammons was a strange mixture of enigmatic power and allure. He also seemed to embrace his role as Lao Szu within the ballet with real gusto. Maria Kanyova found both the lyrical and coquettish moments as Pat Nixon and her diction was impressive throughout. Her middle voice could be more attractive, but her floated top notes were so easily suspended that it seemed a shame for conductor Pablo Heras-Casado to rush through them. As Mao Tse-tung and his wife Chiang Ch’ing, Adrian Thompson and Marisol Montalvo were both committed dramatically but lacked the vocal goods to back up what could have been splendid performances.
Adrian Thompson as Mao Tse-tung, Chen Ye-Yuan as Chou En-lai and Robert Orth as Richard Nixon
Even though most of the action onstage was well synchronized with Adam’s music, there were several moments of dynamic imbalance between the orchestra and the singers that cannot be attributed to the use of amplification in Adam’s score. Rather, the orchestra was plagued by imprecise playing and pacing throughout, which became distracting and detracted from Adam’s astute choices of orchestration. That said, the chorus was impeccably rehearsed by Sandra Horst and it seems very likely that some of the musical missteps will be corrected during the course of the run.
The lighting by Paul Palazzo was some of the most effective work I have ever seen in any theatre — ranging from the eerie glow of an unseen television flickering on the faces of the typical American family to use of Chinese lanterns on the television screens as a light source. Allen Moyer’s set design provided several layers of visual and semiotic interest, especially for Pat Nixon’s tour of sites during Act II, and James Schuette’s costumes were rhetorically effective while maintaining a strong sense of the opera’s place and time.
Isabel Bayrakdarian as Pamina and Michael Schade as Tamino
Ultimately, the success of Saturday evening’s performance was largely due to Robinson’s creative staging which faced the challenges of the libretto while allowing the quality of the music to speak for itself. In this respect, Diane Paulus’ new production of Mozart’s Die Zauberflöte was an entirely fitting companion piece for Nixon in China. Paulus reimagined the opera’s action taking place on the grounds of a beautiful 18th century estate as an entertainment on the occasion of the name day of Pamina. The resulting play-within-a-play scenario worked incredibly well for the first half of the opera. The staging of the overture introduced the new framework of Mozart’s familiar characters with uncanny clarity. Papageno took charge of last-minute rehearsals with some of the estate’s ruder mechanicals while Sarastro, as lord of the manor, oversaw the entire operation.
From the moment the curtain went up, the cast embraced their dual roles as characters within the festivities and their “real life” counterparts. Betty Waynne Allison, Wallis Giunta, and Lauren Segal were as strong individually as they were as a trio. Rather than portraying Tamino as a bland hero, tenor Michael Schade embraced the ambiguity of his role. He sang and acted like a lover and prince (even to the point of being overly precious vocally) but occasionally revealed a more human impatience or even harshness. Rodion Pogossov and Lisa DiMaria were ideally matched as Papageno and Papagena. They were both as generous with their vocalism and musicality as they were with their spirited comedic performances. Isabel Bayrakdarian may not have been ideally cast as Pamina, but her acting had the strength of purpose and conviction necessary to turn the role into the opera’s true heroine. As her mother, Aline Kutan delivered a one-two punch with the Queen of the Night’s arias that won’t soon be forgotten.
Lauren Segal as the Third Lady, Wallis Giunta as the Second Lady, Betty Waynne Allison as the First Lady and Michael Schade as Tamino (lying down)
House Music Director Johannes Debus led the orchestra in a brisk and lively performance. With the exception of a slightly scrappy final chorus, the choristers were as excellent as they had been the night before. Furthermore, Paulus’ new context for the opera finally allowed for a female chorus contingent that didn’t seem totally superfluous to the action. The production’s concept was not as fully realized in the second half, but the significant strengths of Act I and the pure charm throughout (enhanced at every turn by set and costume designer Myung Hee Cho) made the production a joy to behold.
As for the Canadian Opera Company itself, to paraphrase Alice Goodman’s excellent, beguiling libretto for Nixon in China, how much of what they did last weekend was good? Most of it was good, and some of it was even great.