15 Jun 2012
The Magic Flute in San Francisco
A feast for the eyes, a feast for the ears, a Flute from America’s heartland that goes directly to your heart.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
A feast for the eyes, a feast for the ears, a Flute from America’s heartland that goes directly to your heart.
Maybe it’s those three boy sopranos who impeccably deliver the words and tones of Mozart’s three spirits and in their innocence make the hopes of mankind so real.
Nathan Gunn as Papageno and Nadine Sierra as Papagena
Maybe it’s the rhyming couplets of David Gockley’s new translation of the lyrics, and the rhythm and flow, and the internal and period rhymes of his dialogues that harmonize like square dance calls. It’s somewhere between cradle, pub and couch and makes you feel really good.
Certainly it’s the kaleidoscope of lines and dots and a thousand colors, maybe more that percolate across the proscenium canvas in always changing, never ending orders that make you feel that the good life will never end, and that, well, even if life may not always be that simple it keeps moving. Finally all those lines and all those dots will become a perfect circle!
This new Magic Flute is indeed a perfect circle, a masterpiece of conception and execution. There is even an illustrated book that engagingly documents the massive scope of a production process that traces the circle from idea to fact and makes artistic creation seem like a piece of cake.
Some of us like to think of San Francisco Opera as synonymous with Covent Garden and Vienna, like sharing productions with, uhm, La Scala (Attila for example) so it comes as a bit of a shock to realize that SFO is sharing productions with Omaha and Kansas City. In fact Japanese born artist Jun Kaneko, the creative force behind the sets and costumes of this production, makes his home in Omaha where he makes ceramics, conceives massive public art projects and designed Madama Butterfly for Opera Omaha.
San Francisco Opera has distinguished precedent for productions based on visual rather than theatrical art, like David Hockney’s Turandot, and even like Marc Chagall’s Magic Flute. And speaking of the Flute, South African artist William Kentridge created one for Brussels' Monnaie about a decade ago that set the benchmark pretty high.
Greg Fedderly as Monostatos
But middle America has its own things to say these days, like Picasso’s French Riviera had its things to say a hundred years ago at the Opéra de Monte Carlo. Maybe it says most about the America that looks westward to Asia for so much of its persona that remains so hidden. Artist Kaneko who emigrated to the U.S. in 1961 creates an endless landscape, like the American Midwest, but in Asian lines and colors. He constructs a Chinese puppet dragon and draws costumes that seem made of glazed clay or painted porcelain. In fact we felt quite at home as all of this is so much a part of our national heritage. Come to think of it.
Within this visual realm stage director Harry Silverstein finds constant movements and antics to enliven Gockley’s earthy contemporary banter. Things are left pretty basic, the cosmic conflict between Sarastro and the Queen of the Night has the weight of a domestic spat. It is taken for granted that women need to be put in their place, not to mention that people of color exhibit libidos that are not philosophic and that love conquers all obstacles, like fire and water.
Casting was young and fun. Rather than attempt the more usual and appropriate jugendliche dramatic voices for Tamino and Pamina, San Francisco Opera cast light lyric tenor Alex Shrader and soubrette Heidi Stober. The fine singers brought youth and lightness and consummate charm to Mozart’s young lovers, plus they seemed the very embodiment of corporate promise. Baritone Nathan Gunn was Tamino’s cool sidekick Papageno, everyone’s good friend who isn’t going to make it out of the warehouse.
Russian dramatic coloratura Albina Shagimuratova with her threatening accent (even if slight — she is an alumna of the Houston Opera Studio) was the appropriately toned Queen of the Night. Like nearly always this role gets the biggest ovation because she has the highest notes, and of course the niftiest arias as well. Mlle. Shagimuratova well earned her ovation with extraordinarily clean delivery of her stratospheric notes. Iceland born bass Kristinn Sigmundsson used his Germanic accented English to add more imperative to righteousness though vocally he no longer has the equipment to embody such depth and authority.
Heidi Stober as Pamina, Kristinn Sigmundsson as Sarastro and Alek Shrader as Tamino
Baritone Greg Fedderly made Monostatos absolutely delightfully unthreatening, because as we all now know libido is fun after all. Mr. Fedderly is in good voice. Melody Moore Lauren McNeese and Renée Tatum were First, Second and Third Ladies, lighter voiced than the usual specimens, appropriate to convey the Valley Girl syndrome they knowingly managed.
Not least were the Three Spirits, Etienne Julius Valdez, Joshua Reinier and John Walsh who have to have been the best Three Spirits that ever hit the earth.
Where was the music in all of this, you ask. Well, we were having so much fun that we almost didn’t notice it. But when we did it seemed to support the words with grace and ease and the San Francisco Opera Orchestra did play with lovely sterling tone. British Conductor Rory Macdonald felt tempos that seemed quite slow, but they were tempos that allowed the words to sail across the pit and amuse us. Mozart’s ultimate symphonic thrust, the sublime musical process that propels Tamino and Pamina to an advanced humanity sadly did not happen.