19 Mar 2012
Metropolitan Opera National Council Grand Finals Concert
A major part of the rejuvenation of opera in the 21st century is the cultivation of young singers.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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.
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.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
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’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.
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.
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).
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.
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.
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 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 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.
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.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
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.
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’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.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
A major part of the rejuvenation of opera in the 21st century is the cultivation of young singers.
There are a variety of organizations that use different methods to ensure that the next generation of singers is equipped with the experience they need to have a fruitful career in an extremely competitive environment.
Last year, for instance, Juliard’s opera department teamed up with the Met for their first annual co-production. In this case, Smetna’s The Bartered Bride allowed young singers to acquire stage experience as well as to work with big name officials such as James Levine. Other organizations such as Virginia’s Wolf Trap Opera Company dedicate themselves to cultivating new singers by designing entire seasons around them.
Still, the most popular method is the Evergreen Vocal Competition. The Met’s National Council Auditions are a fine example of such a vocal competition. Each March, less than ten finalists, selected from across America, are flown to New York for a concert, hosted by a famous singer and conducted by a well-known conductor. The concert also includes a surprise guest. The event, open to the public, is designed in such a way as to grant participants an invaluable experience while at the same time allowing the audience a sneak peek at upcoming talent. For the five chosen winners, the prize is $15,000 each and the opportunity to join in the Met’s Lindemann Young Artist Development Program.
This year, the Grand Finals Concert of the National Council Auditions took place on Sunday, March 18th. It was hosted by bass-baritone Eric Owens, who has been making waves in the role of Albrecht in the Met’s new Robert Lepage Ring cycle. Owens also fulfilled the role of guest artist. The five winners were baritone Anthony Clark Evans, tenor Matthew Grills, mezzo-soprano Margaret Mezzacappa, soprano Janai Brugger, and countertenor Andrey Nemzer. The Metropolitan Opera orchestra was led adroitly by Andrew Davis.
All the participants, regardless of whether they won or lost, should congratulate themselves on making the concert an extremely close competition. In past years, there were clearly defined winners and losers. This wasn’t the case this year. Anthony Clark Evans sang magnificently. Both his arias, “Si puo? Si puo?” from Pagliacci, and “Hai gia vinta la causa,” from Le Nozze di Figaro, proved that despite the lack of such baritones as Sherrill Milnes, true Italianate singing is thankfully not dead. Although, it must be said that his portrayal of the angry yet risible count in the latter case came up a little short.
Despite the extraneous vibrato in her rendition of “O ma lyre immortelle,” from Gounod’s Sappho, Margaret Mezzacappa was able to showcase her warm chest tones. Also, her rendition of “Hence, Iris, hence away!” from Handel’s Semele, showcased her adaptability with baroque ornamentation. Countertenor Andrey Nemzer showcased his ability as a fine-singing actor in Giulio Cesare’s “Domero la tua firezza,” while his interpretation of “Ratmir’s Aria,” from Glinka’s Ruslan and Lyudmila, was an utter joy to hear.
Soprano Janai Brugger, a crowd favorite, is clearly someone to watch. In both her arias, the famous “Depuis le jour,” from Louise, and Die Zauberflote’s “Ach, ich fuhl’s,” demonstrated warm tone and command of legato and ornamentation. The highlight of Matthew Grills’ two performances was the always-popular, “Ah! mes amis!” from La Fille Du Regiment. It was eye-opening; so many tenors go for the champagne aspect of the aria, a la Pavarotti, but his interpretation had a more day-dreamlike quality. His Tonio was definitely thrilled with his amorous success, but was lost in daydreams of love, as opposed to pouring forth ebullient expressions of joy.
The joy of this concert was that so many of those who didn’t win deserved compensations for their performances. Soprano Lauren Snouffer sang excellently in her second aria, “Air du Feu,” from Ravel’s L’Enfant et les Sortileges. However, I was very impressed with her ability to handle the seemingly endless recitative of “Padre, germani, addio!” from Mozart’s Idomeneo. Kevin Ray proved himself versatile, both as a Helden tenor in “Ein Schwert verhiess mir der Vater,” from Walküre, and as an Italianate singer in “Durch die Walder,” from Weber’s Der Freischutz.
Michael Sumuel was a superb actor in Leporello’s catalogue aria, yet he was also moving in Aleko’s cavatina from Rachmaninoff’s Aleko. Despite the concert’s short duration, Andrew Davis and the Metropolitan Opera Orchestra can congratulate themselves on splendidly navigating a wide range of repertoire that extended from Handel to John Adams, and along the way, incorporated seldom-performed composers such as Rachmaninoff and Weber. Eric Owens sang splendidly in King Philip’s showpiece, “Ella giammai m’amo,” from Verdi’s Don Carlo. His adept ability at phrasing was especially noteworthy during the repetitions of “Amore, per me non ha” (She never loved me).
Lastly, the audience was blessed with an appearance by Peter Gelb as Eric Owens was getting ready to sing. As he spoke, he reminded the audience that even if a certain singer didn’t win, it did not mean that they would not be seen again on the Metropolitan Opera stage. After all, it is important to keep in mind that such singers as Richard Tucker, Patricia Racette, and Joyce DiDonato did not win. Still, I am happy to say that all of them deserved to be there, regardless of whether or not they won. I look forward to seeing them all on the Met stage again.