Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Lise Lindstrom as Turandot [Photo by Gaston De Cardenas courtesy of Florida Grand Opera]
07 Feb 2011

Turandot, Florida Grand Opera

In 2010, Florida Grand Opera held a gala to honor Robert Heuer on his 25th anniversary as general director.

Giacomo Puccini: Turandot

Turandot: Lise Lindstrom; Calaf: Frank Porretta; Liù: Elizabeth Caballero; Timur: Kevin Langan. Conductor: Ramon Tebar. Stage Director: Bliss Hebert. Set and Costume Designer: Allen Charles Klein. Choreographer: Rosa Mercedes.

Above: Lise Lindstrom as Turandot

All photos by Gaston De Cardenas courtesy of Florida Grand Opera

 

On hand to join in the festivities was the great American baritone Sherrill Milnes who named Florida Grand Opera among the nation’s top regional companies. Compliment or challenge? The ultimate challenge for FGO in this, its 70th season may be to maximize efficiency without sacrificing quality. Dusting off thirty-year-old Turandot sets for the season opener (seen November 13th) speaks to the former and maintains a streak begun in 2009 of presenting productions designed and created for FGO.

Two features were immediately identifiable on curtain: a stage-covering set, the aft section of which molds the Forbidden City into a dragon, and the plush atmosphere that are quintessential Bliss Hebert (Staging) and Allen Charles Klein (Sets, costumes and lighting). A flash point in this scene is a sharpening wheel setting off sparks as the many executioners run swords across it. Act Three brings a particularly dark and dank garden, as Calaf and townspeople contemplate a sleepless night. Fine points in the work of Klein and Michelle Diamantides (Wigs and Makeup) include Ping, Pang and Pong wearing Kabuki face paint, and a wide palette of costume variations (Sumo gear on executioners, Samurai outfits on soldiers, and Sages of caricatured pre-frontal cortexes).

Familiarity was also supplied by the musical direction of Ramon Tebar, wielding baton here again, having led FGO’s Lucia last season. Tebar seems to prefer slow, deliberate beats that were quite successful in this Turandot, if taxing on some singers. The orchestra met crucial moments head on, playing chords strongly — with powerful horns and hammered, note-perfect percussions; the Riddle Scene simmered in mystery. Less successful was the over-bright harp playing following Turandot’s lines and a general slackening of musical structure in Act Two.

Lise Lindstrom is in exclusive company: singers that can easily clear the steep crests of Turandot. Her voice is penetrating and interesting, warming to the ears as the night progressed. Lindstrom excelled in Alfano’s passages, possibliy presaging a move into Wagner. In currying the Emperor’s sympathy and hinting at curiosity over Liu’s devotion, Lindstrom delved into La Principessa’s internal struggles. Where Lindstrom’s voice is pointed in focus, Frank Porretta’s is spread, making for shaky balancing with the orchestra. Still, Porretta’s Calaf stayed the course with well-taken but inconsistent legato and game attempts at varying expressiveness.

FGOLiutCalafTimur.gifFrank Porretta as Calaf, Elizabeth Caballero as Liu and Kevin Langan as Timur

Elizabeth Caballero’s vocal glamour is well-known to audiences here and on that reputation she did not renege as Liu. Refined musical accents abounded — pianissimo in the correct places and generous outpourings of sound from notes in the meat of her voice. Kevin Langan’s Timur - fragile, sincere and strong of heart - was perhaps the most complete characterization of the evening. Robert Dundas is a youthful voiced Emperor of noble spirit. All supporting parts came off aptly, with a vote of vocal promise for the second handmaiden Emilia Acon, a distinctly rich sound. Hebert’s blocking and Rosa Mercedes’ fine and uniform choreography cushion production elements that verge on excessive. In Puccini’s final work, impact rests greatly on the chorus and FGO’s group is polished and disciplined under the direction of John Keene; Timothy A. Sharp drew a solid performance from Miami Children’s Chorus.

Robert Carreras

FGOTurandotCalaf.gifLise Lindstrom as Turandot and Frank Porretta as Calaf

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):