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.
A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
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