Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

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.

Bethan Langford, Wigmore Hall

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’.

Tansy Davies: Between Worlds (world premiere)

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.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

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.

Il turco in Italia, Royal Opera

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.

The Siege of Calais
——
The Wild Man of the West Indies

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).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

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.

St. John Passion by Soli Deo Gloria, Chicago

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.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

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.

The Tempest Songbook, Gotham Chamber Opera

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.

San Diego Opera presents Adams’ Riveting Nixon in China

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.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

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.

An Ideal Cast in Chicago’s Tannhäuser

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.

Madame Butterfly, Royal Opera

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.

Tosca in Marseille

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.

Poetry beyond words — Nash Ensemble, Wigmore Hall

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.

Arizona Opera Presents Magritte Style Magic Flute

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.

OPERA TODAY ARCHIVES »

Reviews

Patricia Racette as the Governess
23 Mar 2011

The Turn of the Screw at LA Opera

An operatic work by an esteemed composer, with a libretto adapted from a great author’s story, staged in an intelligent and well-designed production, featuring singers of the top caliber and a conductor with a deep commitment to the composer’s music, leading a chamber-sized group of his orchestra’s best players — magic in the opera house, right?

Benjamin Britten: The Turn of the Screw

The Governess: Patricia Racette; Prologue/Peter Quint: William Burden; Flora: Ashley Emerson; Miles: Michael Kepler Meo; Mrs. Grose: Ann Murray; Miss Jessel: Tamara Wilson. Los Angeles Opera Orchestra. Conductor: James Conlon. Director: Francesca Gilpin. Scenery and Costume designer: Paul Brown.

Above: Patricia Racette as the Governess

All photos by Robert Millard courtesy of Los Angeles Opera

 

tos6267.gifAnn Murray as Mrs. Grose and Ashley Emerson as Flora

As seen on March 17th, Los Angeles Opera’s second performance of Benjamin Britten and Myfanwy Piper’s The Turn of the Screw (adapted from Henry James's short novel), with Patricia Racette, Ann Murray and William Burden in the lead roles and James Conlon in the pit, turned out to be less than the sum of its parts. The easy answer as to why would be to note the work’s origin as a chamber piece, more suited to a hall much more intimate than the 3000+ seat Dorothy Chandler Pavilion. But that would fail to give credit to the admirable job Conlon did in producing a full but not grandiose sound from his small group of musicians, and it would also mean slighting the brilliant design work of Paul Brown. Brown’s sets, created for Glyndebourne Festival Opera, bring in the sides of the proscenium, with a deeper stage perspective and a wonderfully silky and quiet turntable easily bring action from the rear to the front, allowing voices to always project out.

tos2126.gifTamara Wilson as Miss Jessel

The set also manages to be sparse in its design elements and then flexible enough to rearrange the key features to effortlessly change scenes. A huge glass-latticed wall hangs suspended, twisting, rising and lowering as needed to close off and open up the action. Two huge bare tree trunks, twisted with dead branches, also drift down and up to evoke both the literal outdoors and the spooky “otherworld” of the ghosts. Director Francesca Gilpin gets an astonishingly poised performance from young Michael Kepler Meo as Miles, but the director deserves praise as well — to be shared with the performer, of course — for matching young Miles with the adult Ashley Emerson, almost eerily believable as Miles’s young sister. Meo has performed this role elsewhere; obviously he will outgrow it at some point, but the talent he displays gives promise of a very interesting career ahead. Emerson looks to be at the start of such a career.

tos4014.gifAshley Emerson as Flora, Ann Murray as Mrs. Grose and Michael Kepler Meo as Miles

The more mature adults in the cast live up to the promise of their well-known names. Patricia Racette may be simply too healthy to elicit any fearful sympathy on the part of the audience for her Governess faced with troublesome wards and ghostly emanations. Her singing, however, found her in fine voice — secure in intonation and able to modulate her volume appropriately to the setting. The one key fault, and one not unknown for sopranos, was her inability to always project comprehensibly the English text. When tenor William Burden sang, for example, there was never any need to glance up at the super-titles. Burden also proved himself an extremely fine actor — briefly appearing in the prologue as an unidentified but apparently “normal’ man relating the story as handed down through the Governess’s writings, and then dominating the evening as the progressively creepier ghost of the manor’s groundskeeper, Peter Quint. Britten wrote some fairly athletic music for Quint, and Burden proved himself more than up to the eerie runs.

As Peter Quint’s ghostly companion Miss Jessel, Tamara Wilson brought a solid but attractive soprano, one surely capable of many more challenging roles. A fairly large woman, Ms. Wilson was dressed by the designers in black and had wet hair lying flat, so that she should looked a bit like a plus-size version of the ghost in the movie The Ring. Miss Wilson proved herself a very brave performer at one point — lying down flat as the suspended glass lattice slowly descended upon her, stopping just short of crushing her — if a ghost can be crushed…

tos5117.gifWilliam Burden as Peter Quint, Michael Kepler Meo as Miles and Patricia Racette as the Governess

Racette’s Governess interacts mostly with Mrs. Grove, sung by Ann Murray. Miss Murray has retained, at this point in her long career, a good amount of voice and a strong stage presence. Somehow, however, these scenes were the most problematic of the evening. Neither woman could sing her lines with consistent comprehensibility nor convey the growing apprehension and fear key to the success of a more psychologically-oriented story such as this.

In other words, this was not a very scary The Turn of the Screw — and without being scary, the material can come awfully close to being pointless, if not silly. Nonetheless, the opportunity to hear Britten’s intelligent, evocative score performed by excellent musicians and singers shouldn’t be overlooked. A less than full house gave all the performers a warm ovation, but the inevitable standing ovation was quite slow in developing, and in the end, it included a fair number of people rising to make their way to the exit. With Britten’s Albert Herring programmed for the next season, Los Angeles Opera might do well to consider what sort of publicity will help fill the Dorothy Chandler for those performances — or finding another venue more appropriate to the scale of that piece as well.

Chris Mullins

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):