28 Sep 2012
Rigoletto in San Francisco
Four Rigolettos in nine days (for this critic), of twelve Rigolettos in 24 days (are these world records?).
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.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Four Rigolettos in nine days (for this critic), of twelve Rigolettos in 24 days (are these world records?).
Major support for this San Francisco operatic extravaganza is provided by, among others, the Great Interpreters of Italian Opera Fund. Hyperbole, or not?
It is a qualified answer. That conductor Nicola Luisotti may join the ranks of, let us say, Toscanini and von Karajan (et al.) is yet to be determined. Luisotti is however Italian and this alone endows him with integrity as an interpreter of Italian opera. Based on the September 19 performance the maestro did indeed achieve some greatness.
Rigoletto may be the quintessential Italian opera sitting on the cusp between the glories of bel canto and the agonies of Romantic realism. Formally it is pure bel canto, the individual blocks (“numbers”), arias and duets are interrupted, then capped with a fast, determined “cabaletta.” The trios and quartets are vocally splendid and dramatically static. Finales (when things get done) are brief and to the point.
But add to bel canto the pathos of a cripple’s love for his daughter, the philosophic examination of love and the malevolence of fate. Francesco Piave’s libretto uses Monterone’s curse to close each act and explain why. It is rapid and violent melodrama.
Maestro Luisotti knows that Rigoletto is about beautiful singing, and he gives his singers all needed support based on the supposition that any aria is really a duet — for him and the singer. At its most dramatic were paroxysms of podium involvement in Gilda’s stunning Caro nome, and in the next act Rigoletto and Gilda’s wrenching duet that ends with Rigoletto’s Sì! Vendetta, tremenda vendetta. All this, needless to say, elicited paroxysms of instrumental involvement (the oboe obbligato in Gilda’s Tutte le feste al tempio as example). Tempos, always slower or faster than anticipated, served to generate genuine emotional immediacy obliterating the suspicion of conductorial willfulness. And hardly to be outdone in bel canto by the stage, the maestro imposed an full-voiced orchestral lyricism that took unrelenting flight throughout the evening.
Houston trained, Russian soprano Albina Shagimuratova without qualification is a great interpreter of Gilda. While she has gained her international fame as Queen of the Night, her vocal endowment well encompasses much of the lyric repertoire. The facility and agility of her voice is enriched by a sizable palette of color and delivery that matches her dramatic concentration. Rarely has a singer so completely embodied the Gilda character. Time stood still in the adolescent musings of the young girl who had just had melismatic sex with the Duke (yes, the second act love duet was mesmerizing).
Arturo Chacón-Cruz as The Duke of Mantua and San Francisco Opera dancers
San Francisco trained, Mexican tenor Arturo Chacón-Cruz was the over-sexed, heart-throb Duke of Mantua. With a voice that resides in color somewhere between the French and Italian repertoire and a technique that belies his youthfulness, he constructed Verdi’s vocal lines with precision and the hint of spinto that make tenors desirable lovers, ably seducing the splendidly drawn Countess Ceprano of Adler Fellow Laura Krumm as well as the production’s sympathetic, sexually ripe Maddalena, former Adler Fellow Kendall Gladden.
Italian baritone Marco Vratogna too achieves status as a great interpreter of Rigoletto, given that this twisted human is more, and in Mr. Vratogna’s case much more than a big voice who rages at the cortigiani. Mr. Vratogna’s Rigoletto is small in scale but, and maybe therefore, large in insinuation that more than a victim, Rigoletto is indeed an ugly soul in an ugly body. This compromises the blatant pathos that might be awarded a big voiced Rigoletto who will seem righteous by sheer volume. Mr. Vratogna uses his medium scaled voice of many colors and much Italianate style to make Rigoletto sinister, unsympathetic, maybe pitiful.
And very interesting.
On the other hand Canadian bass Robert Pomakov as Monterone roared his curses, quivering with rage, well anchoring the conciseness of the drama by sheer volume, abetted by Italian bass Andrea Silvestrelli as the honest murderer Sparafucile, incomparable casting in both cases.
This San Francisco Opera production, designed by veteran American scenographer, now Yale professor, Michael Yeargan, debuted in 1997. Mr. Yeargan too assumes stature as a great interpreter of Italian opera with a set that echoes the conciseness of the dramatic action of Rigoletto in an abstracted, classically forced-perspective Italian street. Hard edge, repeated porticos are obsessive, sinister and overwhelming. Colors are saturated, basic and bright when not cast as dim, sinister washes on the buildings. The set is minimal, no props (save one chair in the third act). The set functions with almost machine-like precision. Like Verdi’s Rigoletto.
Because of the number and proximity of performances San Francisco Opera must provide two sets of principals. On September 11 I saw Serbian baritone Zeljko Lucic as Rigoletto, Polish soprano Aleksandra Kurzak as Gilda and Italian tenor Francesco Demuro as the Duke. Mr. Lucic is a big voiced Rigoletto whose well focused tone did not waver over the course of events resulting in a hunchback of little interest, though Cortigiani, vil razza dannata was hurled with maximum vehemence. Mme. Kurzak is a brilliant singer whose musicianship is abstract rather than dramatic, and while she did make music with maestro Luisotti she made no attempt whatsoever to impersonate Verdi’s vulnerable heroine. Mr. Demuro is an ideal Duke, good looking with a bona fide tenorial swagger. He possesses a light voice that too easily negotiates the Duke’s high tessitura with little of the vocal excitement that makes the Duke musically and dramatically alive.
At this performance the brilliant colors of the set seemed abrasive, the costumes seemed ridiculous and the staging by Harry Silverstein seemed to try too hard to make something out of nothing. In retrospect this reaction was caused by the non-involvement of the principals in their characters.
On September 12 I saw the cast described in the body of this review. At this performance the staging by Mr. Silverstein redeemed itself as a totally competent management of the chorus scenes, if more complicated than Verdi’s direct story telling ideally requires. The principal scenes seemed more detailed than the incipient realism of middle-period Verdi provokes (but, hey, opera these days is supposed to be “acted” — the exception was Mr. Vratogna’s Rigoletto effected with minimum gesture and maximum vocal physicality). In particular the Gilda of Mme. Shagimuratova seemed artful rather than felt in her final scenes.
On September 15 the Lucic/Kurzak/Demuro cast was again on stage at the War Memorial opera house and on the scoreboard of the local ball park, home of the SF Giants, where 27,000 spectators and I braved the cold for the duration (other years have been far warmer in temperature and far warmer musically). The format requires much focus on faces and acoustical manipulation of voices exposing the limitations of this cast. Mr. Demuro however seemed a natural born TV actor, to the degree that there was the suspicion he might be playing himself.
On September 19, above, it was all pure magic. Go figure. There are four more performances but I’m stopping while I’m ahead.