29 Apr 2011
Séance on a Wet Afternoon
Saturday, April 23 was indeed a rainy afternoon in New York City.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.
Saturday, April 23 was indeed a rainy afternoon in New York City.
But, despite what you may have read, Stephen Schwartz’s new opera is far from all wet. In fact, last weekend’s matinee at the David H. Koch Theatre was as much a success as it was a séance. NYCO’s East Coast premiere production of Séance on a Wet Afternoon, based upon the novel by Mark McShane, epitomizes what the company stands for and points towards what opera in America can be. The staging is smart and engaging, the music is used to forward the drama, the singers are equally talented as actors and musicians, and the result is both emotionally satisfying and thought-provoking. So why, when there are $12 tickets available, are there empty seats?
For opera lovers, there is plenty to enjoy— pathos, demanding vocalism, and lush orchestration unlike what you would find on a Broadway stage. The music is accessible (yes, perhaps overly so), the acting polished, and the show definitely benefits from its Broadway pedigree. Whatever your proclivities or demographic, this art is meaningful and relevant, and it should not be missed.
Together, father and son team Stephen and Scott Schwartz (acting as composer/librettist and director, respectively) have created a compelling theatrical event. From the moment the curtain rises during the highly cinematic overture to reveal a stage hung with black metal chains, the audience is swept along in suspense by the music and drama (thanks, in large part, to the efforts of conductor George Manahan). Much of the first act takes place inside the home of the Bill and Myra Foster, and Heidi Ettinger’s set struck an ideal balance between an appropriately prosaic environment for the domestic drama and a space where uncanny things can happen. The transparent walls suffuse with color and light, then disappear altogether, and the audience’s perspective on the drama is allowed to shift as the house itself rotates.
As Myra and Bill Foster, a couple who conspires to kidnap a child in order to boost Myra’s career as a medium, Lauren Flanigan and Kim Josephson are ideally matched to both the material itself and to each other. It should come as no surprise that Flanigan excels here— she is a NYCO veteran and a powerhouse singing-actress. Kim Josephson, in his NYCO debut, matches her intensity and makes good use of the opera’s best material. Melody Moore, in the role of the kidnapped child’s mother, stands out as well. Were this production mounted on Broadway, Ms. Moore would undoubtedly be nominated for a Tony award. She meets every vocal and dramatic challenge and breathes life and individuality into a role which could easily be reduced to a trite stereotype. As with Mr. Josephson, Ms. Moore is making her company debut with this production and both artists exemplify the company’s success in its mission to bring compelling performances of new works to New York City audiences. Unfortunately, as Charles Clayton, tenor Todd Wilander did not live up to the standard set by his partner. He was vocally cautious and played every obvious emotion rather than establishing a connection with his excellent partner.
As a quartet of Myra Foster’s regular clients, Jane Shaulis, Pamela Jones, Doug Purcell, and Boyd Schlaefer played their individual parts with plenty of verve and worked well as an ensemble. Phillip Boykin brought vocal and physical gravitas to his role as the Inspector. The two children in the cast, Michael Kepler Meo and Bailey Grey, are both veterans on the stage and their performances were on par with their adult cohorts. The chorus of reporters was well-rehearsed by both chorus master Charles F. Prestinari and choreographer Matt Williams, but their material was largely irrelevant and repetitive.
As previously mentioned, this production is not without flaws. Inevitably, the singing is not as good as one would hear at the Metropolitan Opera next door, nor is the diction as good as that heard on Broadway. While there are many effective bits of theatrical magic (including bodies coming together to form a streetcar and a black-and-white portrait that gains color during an emotional aria), the overall drama of the piece is often undermined by Schwartz’s own libretto. For the most part, every bit of suspense in the plot is used to maximum effect but the scene in which Myra is in the room when the kidnapper (his own husband) calls the Claytons falls flat. Furthermore, Myra’s aria at the top of the second act hardly serves to develop the drama, the music, or her character and it could easily be cut.
All in all, Séance on a Wet Afternoon is an exciting opera to watch, not only because of the suspenseful plot, but also because it speaks to the future of opera in America. Yes, the music lacks complexity but, just as not every movie is made to win an Academy Award, not every opera is meant to stand up to repeated listening. Séance is not an opera for the future in the sense that it will remain in the repertoire forever. Rather, the work itself and the quality of this production speak to a democratization of opera itself and the encouraging trend that, finally, American artists are adopting the genre as their own.