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.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
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.
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