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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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
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.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
02 Aug 2012
Santa Fe Opera, Karol Szymanowski : King Roger
The gifted Polish composer Karol Szymanowski wrote his three-act King Roger, in the 1920's. It is an allegorical tale of honor vs. pleasure set to quite beautiful music, especially in the orchestral writing, which Santa Fe chose to play in the same season as the Rossini in a wide tip of the hat to unknown but worthy repertory.
While King Roger is rarely heard, I happen to have experienced it in 1980 when the St. Louis Symphony presented two performances in concert form under the direction of Leonard Slatkin, who was an advocate for Szymanowski’s music. It made very little impression at that time, but heightened my appreciation of the Santa Fe production, whose theatrical qualities much enhanced the somewhat tepid tale of the Sicilian king, if one set within an unusually rich musical tapestry. A colorful and dramatic production of a static opera can make the effort seem worthwhile, and King Roger’s treatment by Santa Fe could hardly have been more beneficial. (Santa Fe played the opera in one 90-minute act that enhanced continuity.)
First of all the music: Wide swathes of Debussy-influenced tone painting abound, forming an impressionistic atmosphere, often punctuated and disputed by sharp polytonal accents and chromatic arguments in the full orchestra, illustrating Roger’s unhappy moods. The King is torn between his conventional church-approved duties as Monarch, versus the upsetting proposals of a charismatic Shepherd that appeared from nowhere, and much beguiled not only Roger’s subjects but also his wife, Roxana, with tempting ideas about sensual and erotic pleasures. Roger himself is tempted but also dismayed by the Shepherd whose call he hears all too well. In the end the King restores order, at least in his own mind, and assumes the royal robes of convention, but not without having been marked by life’s Dionysian distractions. With lots of talk, lots of posturing and agonizing and a rather ho-hum plot, King Roger is saved by the elegant and original music emanating from the orchestra. The vocal writing is mainly declamatory or conversational, with few if any memorable set pieces, aside from Roxanna’s song, a haunting vocalise that accompanies her fall to Dionysius.
Special appreciation must go to Evan Rogister, the young American conductor, who was a leading hand in making the show work. The singers were all competent, and sometimes more than that, but it is an ensemble opera without the need for star turns. As the King, young Polish lyric baritone Mariusz Kwiecien was authoritative and convincing, perhaps more in the King’s suffering than otherwise, but his is a lyric voice, so fine in Mozart, sometimes taxed in Szymanowski’s bigger moments. His Roxana was handsomely sung by the soprano Erin Morley who brought silvery beauty to her aria. The Shepherd is a hard role to cast and no doubt a difficult one to perform, but ingratiating tenor William Burden rose to the occasion, even if sometimes his top tones turned a bit pale and hard to hear. Raymond Aceto lent his distinguished baritone voice to the role of the Archbishop, with Dennis Peterson and Laura Wilde serving well in secondary parts.
The effectively played stage action was conceived by highly regarded director Stephen Wadsworth whose ideas were strong and clarifying, and were assisted by the ingenious if spare set designs of Thomas Lynch. The unusually fine costumes were by Ann Hould-Ward. Her designs, detailed and impressive, especially in Act I, immediately established a feeling of style and quality that set the right tone and engaged the viewer; strong input by Ms Hould-Ward who first worked at Santa Fe in 1992. I must particularly acknowledge the accomplishment of chorus master Susanne Sheston, whose Santa Fe Opera apprentice singers, augmented by twenty-four professional voices from the Santa Fe Desert Chorale, gave a superior account of Szymanowski’s sumptuous choral writing, one of the most noteworthy beauties of the score. I hope to meet King Roger again some day. His is an enchanting and musically rewarding illusion.
© J.A. Van Sant, 2012