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 Performances

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.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Sara Jakubiak as Catherine Earnshaw and Lee Poulis as Heathcliff [Photo by Michal Daniel courtesy of Minnesota Opera]
22 Apr 2011

Minnesota Opera rescues Herrmann work

There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.

Bernard Herrmann: Wuthering Heights

Catherine Earnshaw: Sara Jakubiac; Heathcliff: Lee Poulis; Hindley Earnshaw: Ben Wager; Edgar Linton: Eric Margiore; Isabella Linton: Adriana Zabala; Nelly Dean: Victoria Vargas; Joseph: Rodolfo Nieto; Mr. Lockwood: Jesse Blumberg; Hareton: Joshua Ross. Dancers: Jeremy Bensussan, Megan McClellan. Conductor: Michael Christie; stage director: Eric Simonson; Choreographer: Heidi Spesard-Noble; Set designer: Neil Patel; Costume designer: Jane Greenwood; Projection designer: Wendall K. Harrington. Minnesota Opera, Ordway Center, St. Paul, April 16, 2011.

Above: Sara Jakubiak as Catherine Earnshaw and Lee Poulis as Heathcliff

All photos by Michal Daniel courtesy of Minnesota Opera

 

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).

0897.gifBen 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.

1517.gifAdriana 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.

Wes Blomster

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):