27 Jul 2011
Rigoletto, Miami Lyric Opera
There’s hell to pay for profligate publicity; Giuseppe Verdi and Francisco Maria Piave knew this to be true.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
There’s hell to pay for profligate publicity; Giuseppe Verdi and Francisco Maria Piave knew this to be true.
Wanton rankling may start off with high ratings and a spike in tickets sales but can easily degenerate into opprobrium and murk an artistic work’s essence. The opera Verdi and Piave set out to complete for Teatro La Fenice was on course for such an ignoble providence were it not for the duo’s imagination, and discretion. La maledizione was the working title for the opera almost cursed with the sort of attention that would dull its artistic merits.
Distilled from a Victor Hugo play with a checkered performance past, the opera would meet with its own curses before its premiere in 1851. The play (Le roi s’amuse) and the opera (Rigoletto) revolve around such a curse, something Miami Lyric Opera Director Raffaele Cardone reminded of when he addressed the audience pre-performance on opening night June 23rd. Placing the context of Rigoletto directly on, and finding its dramatic pole in, the curse teased the imagination as to what was to come, holding out the suspense of the grist for Rigoletto’s mill: La maledizione.
This performance marks a whole new set of standards for MLO. Sets (designed by Carlos Arditti), still on the main backdrops, were more suggestive of the piece (in this case, 16th century Mantova) and redolent of specific scenes: there were columns and archways at the party and a nicely lit (in blue) background, the alley where the sanction was dealt was as an hallucination - a dark and muggy picture; Rigoletto’s domicile was depicted by a patently different scene (turning a bit cheeky when a flimsy wall shook terribly as the jester set the ladder on it). The curtain rose for the final time to a tavern that any assassin might find a suitable safe house.
Artistic expression and sensibility in staging too have improved for the small company. A soft screen hazed the view of the opening scene, the ballroom at the Ducal palace; courtiers held their dance poses for the length of the overture. Movement in the room thereafter was well-planned, with varied exchanges as members of the court came in contact with each other. Blocking and shifting of positions was thoughtful too for the Act Three gathering of Gilda’s abductors. Adequate effects (strobes/lighting by Kevin Roman) in that final scene at the tavern saw to a turbulent tempest.
Musically, including in the singing, those heading the company have much to be pleased with. Conductor Doris Lang Kosloff and players seemed to work well together, resulting in nice string articulation (with fine violins in Cortigliani), sweet flute phrasing (in the work’s echoed themes) and well-modulated dynamics. Miguel A. Raymat beat clear, accurate, and powerful sounds on the kettle drum, supporting the overture, the storm, and the finale.
Cuban baritone Nelson Martinez first appeared with MLO in a Gala concert in the spring of 2007; Martinez sang a Rigoletto later that same season. With the company he as appeared as Rossini’s Figaro, Escamillo, and Giorgio Germont. Locally, Martinez is considered a tested talent; his proved to be the most schooled voice — technically and stylistically — in this cast. As far as size (and heartiness) and the ease of its use in high tessitura, Martinez’s voice does well by Verdi. It is hard to forget the force of the high note he held out to close ‘Pari siamo’.
MLO went out of town for the Gilda. Gina Galati is an American soprano that has studied in a Verdian Academy at Bussetto; she has the voice — its flutter fitting for ‘Caro nome’ — and looks of a soubrette. This was Galati’s first singing engagement with MLO; she shared Gilda with local Susana Diaz (the Gilda on June 25th). As the cad, the vehicle through which Verdi’s opera gets interesting, the Duke of Mantua, Aurelio Dominguez had some laudable moments in this tricky role and his first outing with MLO (two other tenors sang on subsequent performance evenings). The difficult recitative and aria that opens Act Two, where the Duke implores the heavens over the snatching of Gilda, was a triumph for the tenor. Dominguez ducked few obstacles, meeting Galati for the high note in their duet.
MLO returnee Diego Baner made a fine Sparafucile vocally — the rapid vibrato of his bass an interesting change of pace. On the stage, Baner distracted with his tendency to look downward. Graduating from the Florida Grand Opera chorus to a critical role here, Monterone, Cuban bass-baritone Armando Naranjo clearly understands the importance of the curse; Naranjo communicated anger with constant fervor in his singing. Lisseth Jimenez was a saucy Maddalena of darkish tone and Jesse Vargas and Mathew Caines did good work in their brief moments as Borsa and Marullo. Ketty Delgado (Giovanna) and Erica Williams (Paggio) appeared for the first time with MLO.
Pablo Hernandez (Chorus Master) did not put his group to work for the storm and the singers were musically rough here and there (in the second act, the men were at odds over entrances and the text). In the case of costumes, Pamela De Vercelly is credited for colorful work. Vercelly will not be faulted for hosiery (a few with Swiss cheesy wear) unflattering to male cast members whose best features are not their legs. One could be cursed with much worse.
La maledizione would also be a dummy title meant to throw authorities off the scent of Verdi and Piave and their busy redactions of Hugo’s Le roi s’amuse. Hugo encountered trouble mounting the play in France due to its content and the opera was meeting with similar obstructions in Italy some twenty years later. As it went, La maledizione went through a number of textual alterations as Verdi and Piave tried to satisfy censors that feared the reprisal of royals over their less than stately depiction. La maledizione wound up retaining its place in the story; the hunchback also remained and was renamed, as was the opera, Rigoletto.