Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

Lucas Meacham as Don Giovanni [Photo by Cory Weaver courtesy of San Francisco Opera]
26 Oct 2011

Don Giovanni in San Francisco

Ossia Maestro Watching in Fog City. Ten years ago it was German provincialism, now it is the Italian sort wanting to take root in the War Memorial Opera House.

W. A. Mozart: Don Giovanni

Donna Anna: Ellie Dehn; Donna Elvira: Serena Farnocchia; Leporello: Marco Vinco; Don Giovanni: Lucas Meacham; Don Ottavio: Shawn Mathey; Zerlina: Kate Lindsey; Masetto: Ryan Kuster; The Commendatore: Morris Robinson. War Memorial Opera House. San Francisco Opera Orchestra and Chorus. Conductor: Nicola Luisotti. Stage Director; Gabriele Lavia; Set Designer: Alessandro Camera; Costume Designer: Andrea Viotti; Lighting Designer: Christopher Maravich. (10/18/2011). Photos by Cory Weaver, courtesy of San Francisco Opera.

Above: Lucas Meacham as Don Giovanni

Photos by Cory Weaver courtesy of San Francisco Opera

 

San Francisco Opera unveiled a new Don Giovanni just now in nearly direct competition with the new Giovanni from the Met (you can see it soon on Live in HD). Of course the Met has avoided an American take on this old story as well, preferring to impose still more British artistic imperialism on Americans.

G--Leporello-Elvira.gifMarco Vinco as Leporello and Serena Farnocchia as Donna Elvira

The SFO Giovanni is all about egoism, and we are not talking just about the libidinous Don. We are of course talking about SFO music director Nicola Luisotti. Like the Don, this maestro is much larger than life, and equally astonishing in his powers. But the Luisotti Don Giovanni is not about sex as it is for most stage directors, it is about how Luisotti can take you to the brink of lyric orgasm and hold you there longer than maybe you ever thought possible.

Of course the maestro did need some collaborators to support his lyric blowout, specifically a general director willing to suspend artistic judgement and engage a stage director who is at home on secondary Italian stages where standards are parochial to say the least. One Gabriele Lavia was Luisotti’s collaborator for his Salome in Bologna shortly after the San Francisco one (if in Bologna it was orchestrally more brilliant the staging was even cornier than in San Francisco).

The comedy of Mozart’s sublime tragicommedia in San Francisco was watching Sig. Lavia keep the maestro’s singers on a plain about 4 feet wide across the stage apron where no one could escape the maestro’s thrall. And still tell the story. It sometimes worked, sort of, belying the not-too-distant link of Mozartian dramaturgy to the linear and static placement of singers for Baroque opera seria.

B--Ottavio-Anna.gifShawn Mathey as Don Ottavio and Ellie Dehn as Donna Anna

General Director Gockley as well engaged a small scale, very Italiate diva, the splendid Serena Farnocchia whose bright lyric voice is on the small side for Donna Elvira, and light enough to negotiate, almost, Elvira’s very difficult music at the speed of light. The maestro succeeded in upstaging Sig.ra Farnocchia’s “Mi tradi” with a hyper emotional orchestral accompaniment to its recit (grotesque heaving).

Donna Anna was the American soprano Ellie Dehn who had made little impression as the Figaro Countess last fall. But she glowed vocally as a retiring Donna Anna, her just ample enough voice blended perfectly in ensembles, having shown with hanging beauty and fine musicianship in her first act aria "Or sai chi l'onore.” American tenor Shawn Mathey was Don Ottavio, but not the usual impotent one. Turning the tables he was the singer with the coglioni rather than the usual Giovanni heroines. Both Don Ottavio arias were blockbusters, exposing forceful, detached tones in quick passages and fioratura, and letting tone and feeling explode in lyric passages. Both Ms. Dehn and Mr. Mathey managed a synergy with the maestro to sublime effect.

I--Zerlina.gifKate Lindsey as Zerlina

Ignoring all potential complexities of relationship to his master, Italian bass Marco Vinco made Leporello a cute, almost expendable character, needed but not wanted. Though he, like most all Leporellos earned the biggest ovation. Like Leporello, Zerlina and Masetto were needed only for the maestro’s beautifully wrought ensembles, but not much more. Zerlina was ably and musically sung by Kate Lindsey, Adler Fellow Ryan Kuster made a cute Masetto.

San Francisco regular, bass baritone Lucas Meachem filled the shoes of Don Giovanni with aplomb and even charm. Mozart did not endow his most loved character with arias of consequence, and a stage director must dig way beneath the surface to intuit any complexity of personality, obviously not the scope of this production. But the Don is always big, and he lets it all hang out in his explosion at the end of the first act. Needless to say this was the meat of the maestro who turned it into an absolute frenzy. Mr. Meachem could not possibly compete, though he gave it a good try. The real Don would have thrown this maestro the very graphic up-yours gesture and walked off the stage.

From the downbeat of the overture Mo. Luisotti stated that this Mozart opera was an orchestral and musical process, its very sound groaning with importance, reminding us that the maestro has made his orchestra into one of the world’s fine pit ensembles. The beginning foretold the absolutely literal ending with the Commendatore, ably delivered by bass Morris Robinson, wreaking his vengeance on the Don in gigantic symphonic terms. We discovered last fall that after the maestro’s over-the-top musical dénouement in The Marriage of Figaro that he could not touch the quiet Mozartian humanity that ends Figaro. And here he does not even look for Mozart’s humanity, ending Giovanni with the Don’s noisy descent into hell rather than letting the quietly splendid Prague sextet wipe up the mess.

It was a fun evening. However Mozart and San Francisco might equally enjoy a bit of operatic integrity.

Michael Milenski

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):