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.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
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.