29 Apr 2011
Séance on a Wet Afternoon
Saturday, April 23 was indeed a rainy afternoon in New York City.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.
Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.
One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.
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.