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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Performances

Michelle Johnson as Manon [Photo by Kelly & Massa Photography courtesy of Opera Company of Philadelphia]
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.

Giacomo Puccini: Manon Lescaut

Click here for cast and other production information.

Above: Michelle Johnson as Manon

Photos by Kelly & Massa Photography courtesy of Opera Company of Philadelphia

 

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 enjoyable evening.

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 greater potential.

Manon_Lescaut_Phil_02.gifThiago 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.

Manon_Lescaut_Phil_03.gifScene 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 Solitude.

Andrew Moravcsik

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):