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

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

OPERA TODAY ARCHIVES »

Performances

Jay Hunter Morris as Captain Ahab [Photo by Photografeo courtesy of San Diego Opera]
24 Feb 2012

Moby-Dick, San Diego

When Captain Ahab sailed the Pequod into San Diego this week, he brought a new American opera with him. Jake Heggie’s Moby-Dick is a stunning work likely to have universal appeal.

Jake Heggie: Moby-Dick

Queegueg:Jonathan Lemalu; Greenhorn:Johnathan Boyd; Starbuck:Morgan Smith; Pip:Talise Ttrevigne; Captain Ahab:Jay Hunter Morris; Conductor: Joseph Mechavich; Director and Dramaturg:Leonard Foglia; Librettist:Gene Scheer; Scenic Designer:Robert Brill; Costume Designer: Jane Greenwood; Lighting Designer:Donald Holder; Projection Designer:Elaine J. McCarthy.

Above: Jay Hunter Morris as Captain Ahab [Photo by Photografeo courtesy of San Diego Opera]

 

Its libretto is taut and clear, its music accessible and appealing, and its visual effects spectacular and breathtaking. If you can get to see this production, do not miss it.

Moby-Dick, first performed by the Dallas Opera company in 2010, was jointly commissioned by Dallas, San Francisco, San Diego and Calgary Operas and the State Opera of South Australia. Calgary and South Australia have already seen it. The San Diego production marks its West Coast premier. San Francisco will see it this fall.

Melville was an author obsessed with telling what he considered the whole truth about everything. “Taking a book off the brain is akin to the ticklish and dangerous business of taking an old painting off a panel — you have to scrape off the whole brain in order to get at it with due safety,” he wrote while at work on Moby-Dick. Its main characters’ histories and emotional stories, its metaphorical, symbolic meanings were buried deep in over seven hundred pages of side tales and expository material. Heggie and librettist Gene Scheer miraculously reduced this leviathan work to two dramatic acts. Working with director and dramaturg Leonard Foglia and a visual production team, they shaped the material into an opera in which words, music and extraordinary visual effects flow together seamlessly.

The ingenious sets and projections begin during the overture and take us from the starry heaven to the deck of the Pequod just as the curtain rises. As the story rolls on we see the crew climbing the rigging, the ship jibing, a boy flailing in hostile seas, harpooners leaping in and falling out of small boats. Amazingly there is singing going on all the time.

Sheer’s libretto effectively captures the essence of human longings and love through poetic language and occasional patterns of rhyme. He centered the plot in two struggles as seen through two sets of relationships. The core of Moby-Dick is the moral and ethical struggle between the mad Captain Ahab ruthlessly pursing the white whale, and Starbuck, his principled first mate, who tries vainly to become the unhearing Ahab’s voice of conscience. We learn the yearning of the fearful young seaman called Greenhorn, who knows little of life and less about sailing, through his interaction with Queequeg, the self-contained aborigine harpooner, who befriends him. Then there is the cabin boy, Pip, loved by all, who sings, dances, plays his tambourine, and goes mad. The large crew provides an impressive male chorus.

Conductor Joseph Mechavich, replacing San Diego’s principal conductor, Karen Keltner, who became ill just before rehearsals were to begin, led an assured performance. Mechavich had conducted the work in Calgary. Tenor Jay Hunter Morris who had sung Captain Ahab in Australia was literally dropped into costume overnight after a run of Siegfrieds at the Met, when Ben Heppner left after the first performance. Stomping around on his peg leg, Morris handled the role’s high tessitura effortlessly. His second act duet with the excellent Morgan Smith, a veteran Starbuck, new to San Diego, was memorable. Jonathan Boyd, new to both San Diego and the role, was a sweet voiced Greenhorn, perfectly paired with the Queegueg of bass Jonathan Lemalu, another Moby Dick veteran, debuting in San Diego. The duet in which the two, high in the rigging, dream of a peaceful future on Queegueg’s island, is almost a love song. Soprano Talise Trevigne’s rich soprano, coupled with her agility and charm made one feel for the unfortunate Pip.

Jake Heggie is a composer known for his songs as well as operas. He not only writes movingly for the voice, but commands a rich and colorful orchestral palette, and has an enormous lyric gift. Extraordinarily for a newly heard work, a friend and I left the opera house singing snatches of its oft repeating orchestral themes. Is this good or bad? Will this score with its movie-music edge and oft repeated theme, survive? I have no doubt that the opera’s prelude and sea music will someday become a Moby-Dick suite, much like Sea Interludes taken from Britten’s Peter Grimes. There is much in this work both literally and musically of Britten’s Billy Budd (also based on a Melville novel). Musical references to Puccini, Bernstein, even Copland and Philip Glass have all been noted in Heggie’s score. But it is Heggie’s score alone that will determine the place of Moby Dick in the operatic repertoire.

I’d like to think that Moby-Dick will long be a part of the American operatic scene. But I worry how it will fare if and when less expensive productions cannot do justice to the visual aspects of the production. Will the music and story hold up?

The first act of the opera is spell binding as the visuals and story lines unfold before us. The second act, while visually brilliant, and offering two lyrical duets, is somewhat static, as we await the predictable conclusion. The Pequod is destroyed, the crew is lost at sea. We are astounded by the speed and brilliance of the scene, by the powerful rhythms and clashing dissonances of the sea, but we are not deeply moved. We have witnessed a huge tragedy, good people have died, but there is no single character aboard the Pequod whose fate moves us to tears; no Peter Grimes, Billy Budd, nor even the murderous barge captain, Michele in Il Tabarro.

Make no mistake, this was a thrilling evening of opera, greeted enthusiastically by a grateful audience. I left the theater feeling that American composers, writers and visual artists will keep opera alive throughout this still new century. .

Kudos to the San Diego opera company for having brought this work to its stage. Though not privy to the company’s internal workings, I know that aside from raising $2,398,956 required for artists, crews, sets, and everything else, its General and Artistic Director Ian Campbell and staff had to replace his conductor once and his star tenor, twice. So I’m grateful that Mr. Campbell too seems to have been a bit obsessed with finding Moby-Dick.

Estelle Gilson

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):