The Importance of Being Earnest , Gerald Barry’s fifth opera, was commissioned by the Los Angeles Philharmonic Orchestra and the Barbican, and was first performed in concert, Thomas Adès conducting the London premiere.
‘Beauty is the one form of spirituality that we experience through the senses.’ In Thomas Mann’s, Death in Venice, Plato’s axiom stirs the hopes of the aging, intellectually stale poet, Gustav von Aschenbach, that he may rekindle his creativity.
What better way for Masonic brothers, Wolfgang Amadeus Mozart and Emmanuel Shikaneder to disseminate Masonic virtues, than through the most popular musical entertainment of their age, a happy ending folktale that features a dragon, enchanting flutes and bells, mixed-up parentage, and a beautiful young princess in distress?
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra.
Rossini's Maometto Secondo is a major coup for Garsington Opera at Wormsley, confirming its status as the leading specialist Rossini house in Britain. Maometto Secondo is a masterpiece, yet rarely performed because it's formidably difficult to sing. It's a saga with some of the most intense music Rossini ever wrote, expressing a drama so powerful that one can understand why early audiences needed "happy endings" to water down its impact
What a pity! On a glorious — well, by recent English standards — summer’s day, there can be few more beautiful English countryside settings
than Glyndebourne, with the added bonus, as alas much of the audience appears
to understand it, of an opera house attached.
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
Since its first performance at the Teatro Santi Giovanni e Paolo during Venice’s 1643 Carnevale, Monteverdi’s L’Incoronazione di Poppea has been one of the most important milestones in the genesis of modern opera despite its 250 years of unmerited obscurity.
“I wrote it almost without noticing.” So Verdi declared when reminded of his eighth — and perhaps least frequently performed, opera, Alzira. One might say that, since he composed the work, no-one else has much noticed either.
When is verismo verily veristic? Or what is a virginal girl dressed in communion white doing in the two murderous acts of the Los Angeles Opera’s current production of Tosca? And why does she sing the shepherd's song?
Though 2013 is the bicentennial of the births of Giuseppe Verdi and Richard Wagner, the releases of Cecilia Bartoli’s recording of Bellini’s Norma on DECCA, a new studio recording of Donizetti’s Caterina Cornaro from Opera Rara, and this première recording of Saverio Mercadante’s forgotten I due Figaro, suggest that this is the start of a summer of bel canto.
Recording Richard Wagner’s Der Ring des Nibelungen is for a
record label equivalent to a climber reaching the summit of Mount Everest: it is the zenith from which a label surveys its position among its rivals and appreciates an achievement that can define its reputation for a generation.
Few people who love opera in general and bel canto in particular have never heard the comment made by Lilli Lehmann, veteran of the inaugural Ring at Bayreuth in 1876, that singing all three of Wagner’s Brünnhildes—in Die Walküre, Siegfried, and
Götterdämmerung, respectively, all of which she sang to great acclaim—pales in comparison with singing the title rôle in Bellini’s Norma.
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
Ann 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.
Tamara 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.
Ashley 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
William 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.