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.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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