Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Ailyn Pérez as Marguerite and Bryan Hymel as Faust [Photo by Ken Howard courtesy of Santa Fe Opera]
10 Jul 2011

Faust Reaches Santa Fe Opera — And How!

The celebrated New Mexico opera festival has, in its fifty-fifth season, created a production of Charles Gounod’s 1859 masterpiece Faust, its first ever.

Charles Gounod: Faust

Marguerite: Ailyn Perez: Marthe: Jamie Barton; Siebel: Jennifer Holloway; Faust: Bryan Hymel; Valentin (thru 8/1): Matthew Worth; Valentin (from 8/8): Christopher Magiera; Mephistopheles: Mark S. Doss' Wagner: Darik Knutsen. Conductor: Frédéric Chaslin. Director: Stephen Lawless. Scenic Designer: Benoit DuGardyn. Costume Designer: Susan Willmington. Lighting Designer: Pat Collins. Choreographer: Nicola Bowie.

Above: Ailyn Pérez as Marguerite and Bryan Hymel as Faust

All photos by Ken Howard courtesy of Santa Fe Opera

 

It is a mega-show that happily falls into the success column, despite some excesses and an occasional mis-fire. This commentary is based on the second performance, July 6, with eye-watering toxic fumes and particulates still in the air from the forest fires that have been surrounding Santa Fe, forcing the Opera to hire school gymnasia for rehearsals. If circumstances have been hard on the singers and production staff, as they surely have, it is almost miraculous that so complex a show opened on time and in reasonably good order.

FST2_0130a.pngMark Doss as Méphistophélès

Here is a taste: The cassetta of jewels, directed by the composer to be left by Méphistophélès in Marguerite’s garden to impress the innocent maid as a token of Faust’s affection, was instead a large Tiffany-esque show window, wheeled in from stage right, loaded with glittering jewelry and large enough for Marguerite to enter and make her selection; even her portly duenna, Marthe, wiggled in and grabbed up whatever Marguerite left behind. When it was time for the soldiers’ chorus, they executed a smart drill, wearing long greatcoats and spiked helmets that might have betokened the Franco-Prussian war, and when the bucolic Kermesse (village fair) scene arrived, it was equipped with a Ferris wheel (history’s first was at the Chicago World’s Fair 1893), while the merry singing and dancing took place amidst a carnival midway of gaudy freak shows, with uni-cyclists, stiltists and roller-skating. In fact, Marguerite makes her entrance upon roller skates! No, I did not make that up.

FST2_2197a.pngClockwise from top: Bryan Hymel as Faust, Mark Doss as Méphistophélès, Gabrielle Zucker as Helen of Troy, Kessa Huey as Cleopatra, Kristin Osler as Manon, Heidi Kershaw Carmen, Hallie Brenner Dalsimer as Salome and Jasmine Quinsier as Delilah

Action was constant, and with much busy detail, and if it was anachronistic, well never mind! One had to chuckle that Marguerite, as she sang the ballad of the King of Thulé, avidly worked at her humming Singer sewing machine rather than the traditional spinning wheel. The production continued in such style for much of the evening. It must have been exhausting and expensive to mount. While there were small moments that needed tightening or fine-tuning, I expect by the full repertory run in August all will be well polished to the satisfaction of those seeking gaudy entertainment, even if the first three acts were combined into a 90-minute Marathon before the single intermission.

Frédéric Chaslin, the French conductor, pianist and composer, in his second year as principal conductor at Santa Fe, proved the musical jewel of the evening. His orchestra was alert, accurate and highly responsive to his direction. He did linger now and then with a slow tempo, but the waltz scene and later the rarely played ballet of courtesans, ticked along crisply and with élan. I hope we hear a lot of Chaslin in his native opera repertory. He’s the real thing! And how very pleasant to hear French opera with a Frenchman in the pit. Bravo!

Santa Fe has always been a company that seemed to spend more on production values than on vocal talent, but that alone cannot account for a certain mediocrity that beset the singing cast, with one exception: Ailyn Pérez in a strongly sung musically solid performance of Marguerite, the star of the show. Her French pronunciation had its Hispanic moments, but the free flow of tone, her ease in the top soprano register, and her energy and ability to enter into hyper-action staging won deserved applause. Basso Mark Doss, senior member of the cast appropriately appearing as Méphistophélès, was totally into his role, aided by experience and purpose in his portrayal; vocally, he was underpowered and was too often unheard over the orchestra. I would have rather heard him as Leporello in the Mozart opera.

FST2_1877a.pngBackground left: Matthew Worth as Valentin, Jennifer Holloway as Siébel and Chorus, Foreground: Ailyn Pérez as Marguerite

Tenor Mark Hymel had the high-lying phrases for his demanding title role and gave pleasure with his well achieved high tones, even if his bright tenor was a bit lacking in body and seemed nonexistent in the lower register. Few tenors today are reliable in this classic tenor role once graced by the likes of Jean de Reszke and Jussi Bjoerling (they don’t make ‘em like that any more). A young lyric baritone, Matthew Worth, qualified as a French bariton martin, with a pleasant light voice suited to such as Pelléas or Massenet’s Juggler, Jean. Worth was not equipped with the kind of burly vocal weight needed to make Valentine credible. He played the part well and was touching in his scenes with Marguerite.

In smaller but important roles, Jennifer Holloway was effective as Marguerite’s teenage suitor Siebel, here given two arias rather than only the usual Flower Song, while the greedy duenna Marthe was ably presented by mezzo Jamie Barton, though Faust’s wine-loving friend Wagner, was only faintly heard as sung by another too-light baritone, Darik Knutsen. The 2200-seat Santa Fe house is a kind host to larger voices that project well – such are much needed.

The antic stage direction was by the noted Stephen Lawless aided by Belgian scenic designer Benoit Dugardyn, who made good use of the full stage and whose work was colorful and pungent, even if it did consist mainly of props. It all worked!

FST2_0294a.pngThe Fair (Act II)

The splendid choral work, lots of it in this show, was directed by the hard- working and able Susanne Sheston. The mixed-period costume design was by Sue Wilmington, sometimes a puzzle but often quite attractive. Unusually effective lighting was well designed by Pat Collins, while the expertly directed choreography and actor movement was by Nocola Bowie with Lawless. The show as a whole was visually appealing, if at times the ideas behind it all were a bit obscure. If unremitting action counts for success, we saw success.

It would not surprise me if stage director Lawless and General Director Charles MacKay, whether they would admit it or not, were tempted to mount an all-out rather over-produced rendition of Gounod’s lyric classic in lieu of really memorable singing. How many in any given audience really know how Faust was sung in the so-called Golden Age of opera, and how difficult it is in the 21st Century to find a vocally ideal cast for an opera that was composed when Rossini and Meyerbeer were still alive? I cannot fault them, for theirs is the style of the time – the time of regieoper, to use the forbidding German term, when the intention of the stage director is often preferred to that of the original composer and librettist. At least Santa Fe’s first Faust was sung in the original French language (pace St. Louis); was at one level reasonably entertaining with comic moments; beautifully played by an expert orchestra and conductor, with a cast that was of average capability and produced no embarrassing moments. In such terms, the 2011 Faust was a huge improvement over the failings of Santa Fe’s curious 2010 Tales of Hoffman. More French repertory with Maitre Chaslin, s’il vous plait!

J. A. Van Sant © 2011

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):