22 Apr 2011
Minnesota Opera rescues Herrmann work
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
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.
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
That’s the case at least in the Minnesota Opera’s mesmerizing production of the largely forgotten work that opened at St. Paul’s Ordway Center on April 16. Herrmann’s score, completed in neighboring Minneapolis in 1951, is Romanticism writ large and saturated with Weltschmerz. And it all hurts so good!
With the help of librettist — and first wife — Lucille Fletcher Herrmann took much of the agony — but none of the angst — out of Emily Brontë’s 1847 novel. It is now a gentler story; they have softened the narrative line and made these forlorn credible in their passions — and their frustrations. The frame of the 19th-century social novel is still there, but these are people who would have a hard time building meaningful relationships even without the barriers of caste. To make this clear, MO assembled a great production team for a staging that — one hopes — will be seen on other companies.
Only someone with a heart of stone could resist loving Heathcliff as played by Lee Poulis, a Hollywood-handsome baritone who must be spectacular Don Giovanni, a role he has played at Sarasota Opera. He’s moody, to be sure, but Simonson does not place great emphasis on Heathcliff’s origins as a Gypsy foundling taken into the stuffy and inhibited Earnshaw family. And his problems are explained only in part by the social structure of the day. Poulis shrouds him in darkness — that’s what makes him fascinating to women (and at some point in the past to the elder Earnshaw who brought him home from Liverpool).
Ben Wager as Hindley Earnshaw and Victoria Vargas as Nelly Dean
It’s clear that Heathcliff is an unlikely candidate for an enduring Mr. Right in any era. He’s a complex guy — even when “sanitized” and gussied up in fancy duds. (How he comes to wealth so suddenly is left a secret by Brontë.) Thus it’s unavoidable that Catherine Earnshaw will love Heathcliff even after her marriage to colorless Edgar Litton, and that there’s no way out of this dilemma for her.
As Catherine Sara Jakubiac replaced Kelly Kaduce, originally slated to sing the role. Although she might not yet have Kaduce’s polish, Jakubiac may have an even richer and larger voice than Kaduce, the MO favorite who returns to the company as Madama Butterfly next season. Jakubiac made the long solo scene in which Catherine faces the hopelessness of her situation both gripping and engaging.
Equally touching was mezzo Adriana Zabala in writing the confessional letter that leaves no doubt about the miseries of her life with Hindley Earnshaw, sung by bass Ben Wager. Wager, on the other hand, somewhat overplays his addiction to alcohol in a scene that breaks with the overall resolute calm of Herrmann’s score.
Adriana Zabala as Isabella Linton, Victoria Vargas as Nelly Dean, Sara Jakubiak as Catherine Earnshaw and Eric Margiore as Edgar Linton
It’s a pity that as Edgar, Eric Margiore, the only tenor in the cast, has so little to sing. His one aria was lovingly delivered.
Although the part is small, bass-baritone Rodolfo Nieto brought one of the strongest voices in the cast to farmhand — and religious fanatic — Joseph.
One wishes one might have heard more of Jesse Blumberg — one of America’s great young baritones and a MO regular — than was allotted him as Mr. Lockwood in the opening scene.
Herrmann — most famous for such film scores as Citizen Cane and Psycho —otherwise spent his life largely as a conductor. It is not surprising, then, that Wuthering Heights is in concept orchestral, and in Michael Christie MO chose a conductor who knew how to make the most of this fact. Punctuated by many solo moments, Wuthering Heights as drama is essentially through-composed, in light of which Christie kept a sensitive finger on the pulse of the score.
Despite a staging at Portland in 1981 and a concert performance in France last summer, Wuthering Heights has never found its way into the repertory, because — allegedly — Herrmann was offended by any suggestion that he shorten the 3.5 hour work. That the MO performance lasted less than three hours seems to indicate that significant cuts were made in this production. Despite the length of the performance Christie kept attention riveted on the opera.
The sets and costumes by Neil Patel and Jane Greenwood, respectively, were predictable, Wendall K. Harrington brought visual enchantment to the production with the projections of which she now seems the national master. (She was equally successful with her contribution to Ricky Ian Gordon’s Rappahannock County, premiered at the Virginia Arts Festival on April 12.)
This production is part of Minnesota’s New Works Initiative, designed to focus attention on new or neglected work. A “first” for the company, the staging will be filmed in high definitive for digital distribution. (Confession: I set out to read Brontë’s novel for the first time in 65 years, but put it aside half way through. Herrmann’s version of the story is far better entertainment.) Dates for broadcasts and showing have not been set at this time.