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

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

La Juive in Lyon

Though all big opera is called grand opera, French grand opera itself is a very specific genre. It is an ephemeral style not at all easy to bring to life. For example . . .

OPERA TODAY ARCHIVES »

Performances

Susan Foster as Turandot [Photo by D. Ross Cameron/San Francisco Opera]
20 Nov 2011

Turandot in San Francisco

The magnificent David Hockney Turandot production burst again onto the War Memorial stage with a new cast and conductor that recaptured its potential to make this fairytale into great opera.

Giacomo Puccini: Turandot

Turandot: Susan Foster; Calaf: Walter Fraccaro; Liù: Leah Crocetto; Timur: Christian Van Horn; Ping: Hyung Yun; Pang: Greg Fedderly; Pong: Daniel Montenegro; Emperor Altoum: Joseph Frank; A Mandarin: Ryan Kuster. San Francisco Opera Orchestra and Chorus. Conductor: Giuseppe Finzi; Stage Director: Garnett Bruce; Set Designer: David Hockney; Costume Designer: Ian Falconer; Lighting Designer: Christopher Maravich. Performance of 18 November 2011.

Above: Susan Foster as Turandot

Photos by D. Ross Cameron/San Francisco Opera

 

Well, almost a new cast. The slave girl Liu of Leah Crocetto was a hold over from the October cast though her performance in these new circumstances seemed more vibrant and vivid. No longer dwarfed by larger than life colleagues, it was far bigger than before and this time it truly mesmerized the opera house — her prayer and supplication, then her suicide came in limpid pianissimi, in rich forti, the youth and freshness of her voice embodied the purity and innocence of maidenhood.

Susan Foster was both the new Turandot and a new Turandot — not the icy, unattainable princess but the vulnerable, neurotic maiden, a Turandot very rarely revealed. Now she was a human scaled, twisted rival of the pure and gentle Liu. To be sure Mme. Foster could not be the icy Turandot if she wanted to. She does not possess the steely, dramatic voice nor the mythic persona to engage in a shouting match with her suitor Calaf. But she does have an engaging dramatic voice with volume aplenty when she needs it, and a personal softness that shone beautifully in her touching revelation that Calaf’s name was in fact “love.”

turandot015.pngWalter Fraccaro as Calaf and Susan Foster as Turandot

Calaf too, tenor Walter Fraccaro, had a softness and vulnerability that brought a very human dimension to his “Nessun dorma” that beguiled the opera house with its intimacy and earned him one of its all time biggest ovations. His Calaf was a young warrior who was perhaps as neurotic as Turandot, both of them equating love, or let us just say sex — there is that kiss — with death. Mr. Fraccaro did have the heft and volume in secure, supple voice to assault Turandot in his second act answers to her riddles.

Bass Christian Van Horn brought physical stature (he’s tall) and volume to Timur, confidently anchoring the narrative relationships of the opera’s’ protagonists. The Hockney production does not offer this personage opportunity to expand emotionally.

San Francisco Opera Resident Conductor Giuseppi Finzi allowed Puccini’s score to rise naturally from the pit, with tempos that encouraged its huge sonic scope to saturate the War Memorial Opera house. It is a great big opera that gives the San Francisco Opera chorus and orchestra opportunity to strut their stuff as two of the world’s fine ensembles.

The musical flow revealed this young conductor’s understanding of Puccini’s story. He did not sacrifice this newly discovered delicate humanity to dramatic and musical effect — this score’s fatal temptation. But what the young maestro could not do was drive the Alfano duet that ends the opera to the musical coherency that his predecessor Nicola Luisotti miraculously achieved, nor bring point and edge to the machinations of Ping, Pang and Pong.

turandot013.pngWalter Fraccaro as Calaf, Leah Crocetto as Liù and Christian Van Horn as Timur

The Hockney production is saturated with Chinese reds and fantastical shapes that evoke much more than illustrate a sense of Oriental splendor. Hockney thinks two dimensionally, i.e. the proscenium opening is a canvas, thus we are presented with a succession of paintings. This places his characters on the canvas, or rather it freezes them onto the canvas. There is little movement, and virtually no dramatic reality, i.e. characters do not speak to each other — conversations are a visual, public presentation. Puccini’s Turandot offered this formidable visual artist unique opportunity to create a masterpiece.

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):