29 Apr 2011
Séance on a Wet Afternoon
Saturday, April 23 was indeed a rainy afternoon in New York City.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
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.