Recently in Performances
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.
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.
18 Nov 2012
More Tosca in San Francisco
Who is Patricia Racette? Sexually ripe Nedda, maternal Cio-Cio-San, neurotic Sister Angelica? But now the jealous Tosca? And without question Mme. Racette has again proven herself the Puccini heroine par excellence of this moment.
Patricia Racette is a powerful lyric soprano who like all great singers possesses a unique voice, its signature sound is the interplay of excited overtones. This excitement, these vocal nerve endings possess all of these Puccini victims, and transmit their vulnerability, their super human strength, their beauty, above all a melodramatic feminine humanity that has endured one full century now, and will still be real as long as there may be humankind.
Mme. Racette is a committed and skilled actress, but more so she is an honest artist. Her voice is in its prime, as it has been and will be for some time. To her voice she adds intelligent and straight forward musicianship that ties us securely to her character, thus we are held captive by her very presence even in the numerous pantomimes when Tosca does not sing, but silently observes the murdered Scarpia, and approaches the dead Cavaradossi. It is her rock solid artistry in service to real human drama that seduces us.
Mark Delavan as Scarpia
If in the first act la Racette does not find the persona of a jealous diva, one we suspect we would find in the more usual spinto voiced Tosca. Racette does persuade us that she is a woman in love, and a woman vulnerable to powerful men, fiery revolutionaries and corrupt functionaries. At the opera’s end, finally trapped by these forces she frees herself in her dramatic leap. And what a leap it was — in spread eagle form, the euphoria of liberation. Patricia Racette is a bona fide diva.
These days in the War Memorial when Nicola Luisotti is on the podium individual performances are tied to the pit, an aria is really a duet, and such was the case last night in a stunning delivery of Vissi d’arte, the maestro in his euphoria of pillaging every possible tremor of feeling from a very willing orchestra, the soprano but a part of his larger whole. Scarpia and his henchmen plotting to ensnare Angelotti, Cavaradossi and Tosca captured with a musical force nearly equal to Verdi’s Otello, culminating in a Te Deum that had much more to do with Luisotti and Puccini and the joy of sheer power than with Scarpia.
The maestro plumbs a depth of sound and searches color in the orchestral voice, and only then pushes forward the flow of musical action. This creates a stop and go rhythm of often extreme tempos, fast or slow. Last night in the second act in particular these fluctuating tempos musically riveted us to the interplay of Tosca and her tormentor, and in the third act bound us to her nervous fear.
Tosca’s tormentor, the Scarpia of bass baritone Mark Delavan, was not driven by the pure, unadulterated lust that usually drives this politically privileged baron. Instead Delavan toyed with his power, the seduction of Tosca was played as a game with himself, as proof of his privilege, not as release of his unbridled libido. Delavan found a humanity in Puccini’s villain that was supremely ugly, more offensive than exercising sexual prowess. Utilizing the inherent beauty of his now mature voice he thoroughly embodied the bloated, entitled political aristocracy. This was Mark Delavan as an estimable artist. We would have expressed our appreciation had he stayed around for the bows at the end of the opera.
Mark Delavan as Scarpia and Patricia Racette as Tosca
Against all this, a quirk of impresario privilege, San Francisco Opera general director David Gockley cast an Adler Fellow as the artist and revolutionary tenor Cavaradossi. Young tenor Brian Jagde held his own to some degree, while definitely out of his league. He possesses a young, vibrant voice and secure high notes. He lacks the squillo that would make his voice Italianate, nor is he yet schooled in the style. There was the occasional catch that sometimes might have been the tenorial sob and other times might have been a momentary catch in an overburdened voice. While Mr. Jagde was abundantly rewarded by the crowd for his performance the fact remains that the War Memorial is not an appropriate stage for a young singer to break in a role.
Supporting roles were superbly cast. Christian Van Horn made a detailed and very present Attavanti who set the stage for a revolutionary tone to Puccini’s opera. Tenor Joel Sorensen etched a sniveling Spoletta, brutalized by Scarpia and Adler Fellow Ao Li was right-on as Sciarrone. Not to overlook the low key, masterful, not too intrusive Sacristan of Dale Travis.
The production was the 1997 remake of the 1923 production, and it is time to send it to the dump — its nostalgia has been lost and it is boring. The staging of this umpteenth revival was however masterfully managed by Jose Maria Condemi. Hopefully Mr. Condemi will write a book to reveal the now secret (maybe best left untold stories) of staging these San Francisco Opera Tosca follies.
Cast and Production
Floria Tosca: Patricia Racette; Mario Cavaradossi: Brian Jagde; Baron Scarpia: Mark Delavan; Angelotti: Christian Van Horn; Spoletta: Joel Sorensen; Sacristan: Dale Travis; Sciarrone: Ao Li; Jailer: Ryan Kuster; Shepherd Boy: Ryan Nelson-Flack. San Francisco Opera Orchestra and Chorus. Conductor: Nicola Luisotti; Stage Director: Jose Maria Condemi; Production Designer: Thierry Bosquet; Lighting Designer: Christopher Maravich. San Francisco War Memorial Opera House. November 16, 2012.