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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Performances

Thiago Arancam as Don Jose and Sara Gartland as Micaela
14 Nov 2011

Carmen in San Francisco

Déja vu. Well, sort of. Last time around (2006) there was a Carmen and then another who canceled leaving San Francisco Opera in the lurch.

Georges Bizet: Carmen

Carmen: Anita Rachvelishvili; Don José: Thiago Arancam; Micaëla: Sara Gartland; Escamillo: Paulo Szot; Frasquita: Susannah Biller; Mercédès: Cybele Gouverneur; Le Dancaïre: Timothy Mix; Le Remendado: Daniel Montenegro; Moralès: Trevor Scheunemann; Zuniga: Wayne Tigges; Lillas Pastia: Yusef Lambert. War Memorial Opera House. San Francisco Opera Chorus and Orchestra. Conductor: Nicola Luisotti; Stage Director: Jose Maria Condemi; Set Designer: Jean Pierre Ponnelle; Costume Designer: Werner Juerke; Lighting Designer: Christopher Maravich. Performance of 12 November 2011.

Above: Thiago Arancam as Don Jose and Sara Gartland as Micaela

All production photos by Cory Weaver courtesy of San Francisco Opera

 

Of the several step-ins one seemed the most unlikely. But American lyric mezzo Kate Aldrich surprised everyone with a Carmen that was splendidly charismatic. Five years later la Aldrich, now a Rossini diva as well, was to be the centerpiece for eleven performances of this get-em-in-the-opera-house war horse. Guess what!

ZA--Anita-R.pngAnita Rachvelishvili [Photo courtesy of San Francisco Opera]

But this time, so far, the replacements have been very likely Carmens. American mezzo and recent Adler Fellow Kendall Gladden took the first two performances. This fine young artist has already distinguished herself as a viable Carmen on several of the world’s major stages. Georgian diva Anita Rachvelishvili, a veteran of the role at La Scala, the Met, Munich, etc., has now made her local debut and takes the next four performances as well. San Francisco Opera still hopes Mme. Aldrich may arrive for the final four performances, but stay tuned.

The problem is that Kate Aldrich is a very specific artist. She has a tonality that incorporates her quite lyric voice with a bright, American presence. It would seem that San Francisco Opera built its cast around this formidable persona and that meant lighter voices and lighter weight personalities. And since Carmen is a dialogue and numbers opera anyway the artistic concept seems to have been to make it a true operetta-like musical.

A light-weight cast was the result. Young Brazilian tenor Thiago Arancam was an adolescent looking and sounding Jose whose singing gave great pleasure but who lacked the power to make Jose’s frustration and rage seem more than a temper tantrum. Current Adler Fellow Sara Gartland possesses a small, quite lovely voice with an engaging flutter. She was a Micaela blown about the stage by the whims of a few soldiers and smugglers rather than the stolid emotional force of Jose’s ties to his mother.

M--Act-II.pngPaulo Szot as Escamillo

Brazilian baritone Paulo Szot was the Escamillo. His claim to fame is the role of Emile De Becque in a Broadway revival of South Pacific and as the caricatural Shostakovich Nose at the Met. Mr. Szot simply lacks the operatic coglioni to fight bulls and seduce Carmen, but he did make a more or less pretty figure on the stage.

All this light artillary confronted a Carmen of maximum operatic magnitude, Anita Rachvelishvili. Mlle. Rachvelishvili has a big, big voice that she manages with grace and subtlety, and she does project a forceful personality if not a particularly sexual one. She apparently arrived in enough time to get her mind around the production’s dialogues but hardly in time to be integrated into its staging, if there ever was any. As it was she made generic Carmen moves from time to time.

This 1981 Jean Pierre Ponnelle production once had an edge. It was in fact the first time Bizet’s spoken dialogues were incorporated at the War Memorial and among the first times on any major stage in the world. To effect such daring Ponnelle obviously needed to downsize the public’s idea of Carmen from grand opera to a music hall ambiance.

This need accounts for the small false proscenium embedded in a massive, full stage stone wall. The little proscenium opens and closes upon some historical scenic ideas (as well as a few more sophisticated techniques) that Ponnelle uses to substitute for the grand opera ideas of locale and ambiance.

P--Act-III.png Q--Act-III.pngSusannah Biller as Frasquita (above) and Cybele Gouverneur as Mercedes (below)

But more than anything else the stone wall foreshortened stage depth determining that the staging be presentational, like music theater once was (and maybe still is). Can this explain why Jose seemed to be singing the "Flower Song" to the audience? And why Jose and Escamillo confronted one another without confronting one another (they seemed to be confronting the conductor). While the program does credit a fight choreographer these several crucial events that we look forward to in Carmen were inordinately weak.

Meanwhile, o Dio, we had Nicola Luisotti in the pit, a more formidable opera conductor cannot be imagined. Once again blatant staging concessions were obviously made to this tyrannical maestro so that all his musical points could be maximally vivid. And vivid Bizet’s music was. Maybe it was the point and flash of the music that made the stage seem so painfully pallid and therefore undermined our enjoyment of the performance.

Of the comprimarios the Dancairo of Timothy Mix had real flash, and the Moralès of Trevor Scheunemann well filled the stage. Adler Fellow Susannah Biller as Frasquita lacked the brilliance and volume of the high notes needed to vocally anchor the big ensembles. Wayne Tigges as Zuniga failed to find the fascistic stance that the Ponnelle production introduced to establish a political tyranny equal to the emotional tyranny imposed by Jose's mother.

The fashion to use the very compromised (i.e. hugely shortened) opéra comique dialogues in big opera houses has long since disappeared, and it is time to retire the Ponnelle production rather than destroy its integrity by producing it in unfavorable circumstances. The French dialogues just now were a pleasure however, easily understandable to anyone with high school French. Cleverly one Frenchman was introduced into the cast, Micaela’s mountain guide boy, so that we could hear what real French sounds like.

Michael Milenski

Click here for additional information regarding this production.

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):