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

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892) ? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private. Sakari Oramo considers Kullervo "a masterpiece", and, at Prom 58 at the Royal Albert Hall, London, conducted it with such conviction that there can be little doubt about its unique place in Sibelius's output, and indeed in music history.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

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):