27 Aug 2011
Santa Fe: Best of Show 2011
As this is written, the third week of August, the Santa Fe music season is winding down.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
As this is written, the third week of August, the Santa Fe music season is winding down.
Best of the summer for this observer included the closing performance of Alban Berg’s magical expressionist tragedy, Wozzeck. It was a complete realization of the 2001 production by Daniel Slater and Robert Innes Hopkins, which captivated everyone at the time and has remained in memory as an historic highlight of the company’s quality. So it was again this season through only four performances (La bohème enjoyed ten). Under the music direction of St Louis Symphony’s superlative conductor David Robertson, the musical quality was, if anything, improved over 2001. I attended the first and final performances, and the show grew and developed into musical-dramatic tour de force — a deeply touching one.
Berg’s 1925 masterwork was not professionally staged in its entirety in this country until 1959 at the New York Met, though excerpts had been heard in concert form in 1951, presented by Dmitri Mitropoulos at Carnegie Hall and issued on Columbia records (some will argue that the 1931 Leopold Stokowski presentation of Wozzeck in Philadelphia was the North American premiere, though it was a semi-professional company, derived out of patroness Mrs Bok’s local conservatory with, remarkably, Nelson Eddy in the title role). Nowadays, the complicated score is relatively easily listenable so one can turn to matters of message and dramatic effect — and the elegance of its deeply beautiful, if complex orchestral music. As in Wagner’s famous quip about his own operas, here “the drama is in the orchestra.” Berg’s innovative atonal writing, with its remarkable orchestration and colors, right up to a thunderous held chord on B for the full orchestra, a kind of massive punctuation mark, followed by a tonal interlude centered on D-minor, seduces the audience into thinking the worst is over. The cruelties dealt to Wozzeck by life, in the person of virtually all his associates, are too much for him; his mind finally snaps and he, along with his mistress, die. After the healing surprise of the D-minor interlude near the end of the opera, we suddenly find Wozzeck’s young son riding his stick horse across the stage, murmuring ‘hip hop, hip hop.” With his parents dead, there is no one to hear him — and now the atonal patterns return, the tragedy of life starts all over again.
A fine cast was led by the strong baritone Richard Paul Fink, memorable in the intense title role, with debutante German soprano, the skilled Nicola Beller Carbone, fascinating as Marie. The pungency of Slater’s staging — it’s tension and release, aided by Hopkins’ remarkable set that leans and dips according to the action — never ceases until the final shattering moments of the 90-minute opera. In secondary but important roles, the proven talents of Robert Brubaker, Eric Owens and Stuart Skelton, along with Patricia Risley and Jason Slayden, gave much reward. The Santa Fe orchestra was entirely up to its task, with, I’ll say again, David Robertson the master of the evening. I could go to this opera with much enjoyment many more times, most especially in Santa Fe’s heightened expressionistic production.
Nicola Beller Carbone (Marie), Stuart Skelton (Drum Major) & Richard Paul Fink (Wozzeck)
A common denominator between the opera and a new voice recital series, played over three concerts in August at the Scottish Rite Temple in downtown Santa Fe, was the memorable talent of basso-cantante Eric Owens. The singer, known especially to opera audiences as General Leslie Groves in Adams’ Dr Atomic, proved a pleasant surprise as a proponent of German lied. The dramatic statements of several of Schubert’s largest lied lay easily within the eloquent basso’s grasp; yet he could spin a piano tone in Duparc, or crisply deliver a merry old English song. Ironically, perhaps the greatest achievement of his hour’s recital was a stunningly vocalized and moving encore of King Philip’s monologue from Verdi’s Don Carlos. In German, French and Italian, this splendid artist is a man for all seasons; the voice fine-grained but purposeful, the musicality secure, the diction square on.
Mr. Owens has it all, and may fate grant him a long and fruitful artistic life. Appreciation is due Santa Fe conductor and concert promoter Joseph Illick for developing the new vocal series, which we hear will return next season. It is nice to see life breathed back into the art of the art song!
Finally, and in some ways most enjoyable of all, the Santa Fe Chamber Music Festival presented in a noontime recital at the resonant St. Francis Auditorium, the young Korean-American pianist Joyce Yang. I had heard this artist play in California during the Spring and found her exceptional. All expectations were fulfilled in a program based on Lowell Liebermann’s Gargoyles (1989), a jaunty, layered showpiece of pianistic technique, which was a breeze for Miss Yang. Debussy’s Estampes followed, flowing richly from her big Steinway, a riot of impressionistic nuance, color and fleet image-making from the young Debussy’s inspired imagination. Miss Yang took one’s breath away with her ease and maturity of phrasing, the mistress of resourcefulness and thrilling resolve. I know, but it really was that good!
The climax of the event was the great and glorious Carnival of Robert Schumann, a landmark of romantic invention, and a strong test of any pianist. Miss Yang seemed to approach the 20-some scenes of Schumann’s storytelling with absolute certainty of what she was about, playing with reserves of power, tasteful musicality and poise, that were most vivifying for this old masterwork. The audience went crazy, as they should have, and encores were offered. The best possible encore is to have this young sorceress back as soon and often as possible!
Any three ‘best’ choices are bound to be arbitrary; but with the bountiful offerings of the music and opera festivals in Santa Fe’s high season, I suggest these selections, out of dozens of other wonderful moments, as a taste of what “America’s Salzburg” is all about.
James A. Van Sant © 2011