22 Apr 2011
Minnesota Opera rescues Herrmann work
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
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.