Recently in Performances
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me
I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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.
26 Apr 2012
Manon Lescaut, Philadelphia
It is Manon month in the Mid-Atlantic states. In New York, the Met is presenting Massanet’s take, while Opera Company of Philadelphia has just opened Puccini’s version: his first successful opera, Manon Lescaut.
The latter is a tribute to the company management, which programmed a work not
heard in Philadelphia for decades in lieu of yet another Bohème,
Tosca or Butterfly, and then overcame adversity to craft an
Opera Philadelphia often benefits from the remarkable number of fine singers
trained in local conservatories—but rarely as much as in this production.
When the scheduled soprano (Ermonela Jaho) cancelled less than a month ago,
Texas-born Michelle Johnston, a 29-year old in her final year at AVA, stepped
in, learned the role from scratch, and sang it with distinction. A grand
finalist in last year’s Met national auditions, Johnston is a well-schooled
singer with the most of the resources to tackle the singular challenge of
Manon, whose evolution from youthful innocence through giddy greed to death in
disgrace is mirrored by a vocal transformation from lyric to
coloratura to spinto soprano. She was most impressive in
slimming down her voice for the Act II minuet scene, complete with a (quasi-)
trill. Given her youth and the rushed conditions of her premiere, it is perhaps
inevitable that, earlier and later, Johnston sometimes seemed a bit cautious.
Later in the run, she will perhaps cut loose more at the big emotional moments,
such as the aria, “Sola, Perduta, Abbandonata.” Overall, however, this was
a smart and sensitive performance by a young singer to watch.
Thiago Arancam is a 32-year old Brazilian lirico spinto tenor who
started singing late and has been trained largely in Milan. He is a sexy guy on
stage, with a voice both pleasant and intriguing, mostly due to its unusually
dark color—a quality often thought to signal grand heroic potential. For the
moment, he sings smoothly and in tune, if uniformly at forte. Yet the
sound in the middle and lower parts of the voice lacks the mixture of warm
timbre and clear ring Italian tenors prize, and sometimes fades out
suddenly—a quality that suggests the tone is being forced. Even at best, the
result, some robust high notes aside, his agreeable approach skims over
subtleties in the character of the Chevalier des Grieux: his flirtatious
serenade, sweet reflection on falling in love, and the gut-wrenching "No! No!,
Pazzo son" all sounded vaguely similar. Perhaps Arancam—scheduled to sing
this role in Dresden under Christian Thielemann in a year—will yet realize
Thiago Arancam as Des Grieux and Michelle Johnson as Manon Lescaut
Two character baritones supported the cast well. Daniel Mobbs continued his
strong work for Philadelphia, seeming to inhabit to the character of Manon’s
rich seducer and patron Geronte de Ravoir. Troy Cook was strong if a bit uneven
as her brother. Cody Austin sang brightly as the student Edmondo, John Viscardi
pranced menacingly as the Dancing Master, and John David Miles’s robust tones
came out of nowhere as the Sergeant.
The production was vintage Philadelphia: realistic, colorful, and
cost-effective without probing even the (relatively shallow) depths of
Manon Lescaut’s libretto-by-committee. Still, it offered one
interesting idea, namely a (mechanically-challenged) drop with projected
paraphrases from of the literary text from which the story originates.
Music director Corrado Rovaris was largely in his element in this
fast-moving score, with the orchestra responding brilliantly—better than I
have ever hesrd them—in moments such as the police raid at the end of Act II.
To be sure, one might have liked to hear Rovaris encourage the young cast to
linger at other critical moments, but rubato is not his thing.
Scene from Manon Lescaut
Given the success of this production, perhaps Philadelphia will now dare to
extend its successful string of operas by 20th-century master Hans Werner Henze
to include his unjustly neglected adaptation of the Manon tale, Boulevard