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.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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.