Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Marie-Nicole Lemieux, Wigmore Hall

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]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

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.

The Mastersingers of Nuremberg, ENO

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.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

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: Correspondances

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.

LA Opera Revives The Ghosts of Versailles

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.

La Traviata, ENO

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).

Idomeneo in Lyon

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.

Der fliegende Holländer, Royal Opera

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.

Iphigénie en Tauride in Geneva

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 et Isolde in Toulouse

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 presents Tchaikovsky’s Eugene Onegin

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.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

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.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

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.

English Pocket Opera Company: Verdi’s Macbeth

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: Duke Bluebeard’s Castle

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.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

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):