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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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
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.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
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.
21 Sep 2011
Turandot in San Francisco
Los Angeles has been good to Turandot. The gritty 1984 Andre Serban production inaugurated an opera company in Los Angeles where a mere eight years later L.A. Opera bestowed the splendid Luciano Berio ending upon the world in an uber-pompous Gian-Carlo del Monaco production.
Meanwhile that same year (1992) Los Angeles artist David Hockney bestowed a Turandot upon San Francisco (and Chicago) that is pure Tinseltown. L.A. is famously the Hockney muse, thus the specific muse for the technicolor Hockney Turandot has to have been Grauman’s Chinese Theater. Like this National Historic Monument, the Hockney Turandot vibrates in theatrical shapes and Chinese red, and by now it too is an historic monument.
San Francisco has put its unique stamp solidly on Turandot as well. The 1977 Jean-Pierre Ponnelle production had its massive stone Buddha that gestured and wept blood when the steely Monserrat Caballé succumbed to Luciano Pavarotti in their role debuts, this back in the days when San Francisco Opera pushed the progressive opera envelope in the U.S.
Leah Crocetto as Liù
These days it is a bit different in San Francisco. There is a stamp of a different sort, it is musical and it too pushes the envelope. Specifically it is the quixotic Italian conductor Nicola Luisotti who makes every score he touches vibrate with color, energy and sometimes questionable theatricality. Put this together with the timeless Hockney Turandot and you hit remarkable pay dirt — the current Turandot in San Francisco!
The Hockney Turandot is, no surprise, like a painting in that it is two dimensional. On this flat surface Ping, Pang and Pong complain, Liu sacrifices, Calaf thunders and Turandot rages. The lack of depth plays directly into the hands of the maestro who likes his singers right downstage center where he communes mightily with his voices and maybe even with Puccini. The current staging by Carnett Bruce is sensitive to artist, character and story telling, and it is precise and efficient in somehow getting and keeping the artists where the maestro wants them and where Hockney surely saw them.
The performance was riveting from beginning to end. Even so there were those scenes that glowed with new life — the Ping, Pang, Pong conversation for example, made intimate by the three Hockney straight backed chairs painted onto a drop and by the maestro’s oh-so smooth intermingling of their vocal lines. Liu’s first act prayer 'Signore ascolta' was magical in its Adler Fellows innocence, and the Alfani duet (“who is Berio?” Luisotti surely would ask) that ends the opera was articulated with a surprising intimacy that made us actually feel a renewed humanity — no small feat amidst all that bombast.
Marco Berti as Calaf, Gred Fedderly as Pang, Daniel Montenegro as Pong and Hyung Yun as Ping
The biggest vocal presence was Italian tenor Marco Berti as Calaf who used his strangely brutal 'Nessun dorma' to threaten the Chinese royalty and population even more, and more quickly dismiss Liu’s sacrifice. Swedish soprano Iréne Theorin was far more lyrical in her capitulation than the usual Turandot, though there was icy rage aplenty as she well anchored this story of anger versus power. Against this big house firepower the Liu of Adler Fellow Leah Crocetto was indeed sacrificial, a sacrifice of this symbolic character who must fully embody the supernal power of love. The mix of musical cultures does not work — the Adlers are specifically nurtured contemporary artists whose sophistication is at odds with can belto international artists.
The Timur of Raymond Aceto fulfilled its narrative obligations without adding pathos. The Ping of Hyung Yun dominated the trio of courtiers in association with the vivid Pang of L.A. character tenor Greg Fedderly. Pong was Adler Fellow Daniel Montenegro.
The visual sophistication of the David Hockney Turandot begs precise and brilliant lighting, a need recognized from the inception of this production those many years ago. Just now the lighting was reconfigured by Christopher Maravich though the ending was new. Mo. Luisotti endowed the final chord of the performance with an intense, nearly screaming crescendo that was matched by a crescendo of bright, brighter, blinding light.