29 Apr 2011
Séance on a Wet Afternoon
Saturday, April 23 was indeed a rainy afternoon in New York City.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
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.