Recently in Performances
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
02 Feb 2013
A Timeless Hänsel und Gretel in Chicago
In remounting its 2001 production of Engelbert Humperdinck’s Hänsel und Gretel Lyric Opera of Chicago has demonstrated the timeless nature of the score and narrative as well as the ingenuity of the production with its thoughtful and touching updating to a twentieth-century milieu.
The title roles were sung by Elizabeth DeShong and Maria Kanyova, the Mother and Father by Julie Makerov and Brian Mulligan, the Witch by Jill Grove, and the Sandman and Dew Fairy by Emily Birsan and Kiri Deonarine. Ward Stare led these performances in his Lyric Opera conducting debut.
In its performance of the overture the Lyric Opera Orchestra under Stare’s sensitive direction exemplified the rich colors and tonal depth of Humperdinck’s score. The initial chords for brass were effectively varied and, when repeated, punctuated by melodic emphases in the strings and percussion. Toward the close of this prelude the softer instrumental textures as here played suggested an age that would follow on the trials of human effort. During the course of the overture the stage was veiled by a scrim depicting an empty plate and utensils. Once the first act begins in this production, the significance of the image becomes clear. The children Hänsel and Gretel face each other while seated at the kitchen’s table. Both Ms. DeShong and Ms. Kanyova communicated a temperament of adolescent irritation coupled with human need. The children are hungry and their facial expressions revealed attempts to deal with their current isolation. The parents have gone off to procure food and have left Hänsel and Gretel with the responsibility of domestic chores. Of course little work is accomplished and their vocal exchanges were more expressive of self-amusement. After a tantalizing melisma performed on “Geheimnis” [“secret”] Kanyova’s Gretel instructed her brother in proper dance steps [“Einmal hin, einmal her”]. While DeShong’s Hänsel proclaimed in a truly joyful spirit that he was committed to “Tanzen und fröhlich sein” [“Dancing and happiness”], the antics of the children reached a crescendo from the floor to the top of the table. At this highpoint the mother returned and chided the two for their irresponsible behavior. Ms. Makerov released powerfully emotional pitches on “Sorgen” while describing these very worries caused by financial hardship. Since the children seem unable to appreciate the family’s plight, the mother sends them out to the forest in search of berries for an evening meal. When left alone Makerov gave full vent to her emotions with expressive yet controlled volume on “Kein Essen im Schrank” [“No food in the cupboard”]. As she prepared to take pills as a means to calming her mid-century nervousness, the voice of the father signals his approach in the familiar “Tra la la la
Hunger ist der beste Koch” [“Hunger is the best cook”]. Mr. Mulligan’s entrance was a model of lyrical and dramatic commitment to character. He sang with robust emphasis on “Kauf Besen” [“Buy brooms”] to explain how he encouraged his customers of the day to buy up his wares. As if to celebrate his financial success the father displayed the foodstuffs which he had purchased for the common meal. Once the parents begin to eat, the mother admits that she has sent the children out alone into the forest. The father berates her carelessness while frightening her with tales of evil in the haunted wood. Mulligan dominated the close of this first act with his noteworthy intonation describing the “Hexenritt” [“witches’ ride”] practiced in the forest.
The orchestral introduction to Act Two with an emphasis on cellos and higher strings matched the calming yet inquisitive mood in the forest as the children searched for and consumed the berries they found. DeShong’s Hänsel accused with striking low notes “Du bist selber schuld” [“It is really your fault”] as they discover that they have eaten their entire yield. After Hänsel claimed “Ich bin ein Bub und fürchte mich nicht” [I am a boy and am not afraid”], both children became apprehensive of their surroundings. In this production Hänsel assumes a protective gesture toward his sister as they sing their evening prayer “Abends will ich schlafen gehen” [“At night I lay myself to sleep”]. Kanyova and DeShong gave a wonderfully moving rendition of the duet, as the Sandmann then lulled them into sleep. The “two times seven angels,” to whom they have prayed, are here visualized in their dreams as servants and cooks at the table to which the children are invited after being helped into properly formal attire. At the close of the act Hänsel and Gretel are served as guests at table by these creatures with wings of angels.
The third act of the opera displays the plate on the scrim now covered more noticeably with red as indication of the berries consumed. Kanyova’s bird-like song with which she awakened Hänsel was sprightly and infused with coloratura touches. As the children compared notes about the angels seen in their respective dreams, an enormous cake emerged from the back of the stage. Gretel is the first to sample the cake until both children hear the voice of the witch, Rosina Leckermaul [aka, Rosina Sweet-tooth] In this role Jill Grove wore a housedress and embodied the busyness of a German domestic yet with the powers and desires associated with magic and evil. Grove caused Hänsel to freeze in movement with her chilling performance of the scene “Hocus, Pocus.” When she prepared food to fatten up the boy, Ms. Grove dived into her pots and bowls with gusto and noticeably energetic voice and arms. Gretel realizes that the magical phrase will release her brother, after which both push the witch into the oven. The subsequent, celebratory waltz for the siblings was well choreographed in preparation for saving the remaining children, who had been held as gingerbread under the witch’s spell. Recitation now of the “Hocus, Pocus” charm restores the children’s sight, the parents appear in the forest, and the family is reunited in prayers of thanksgiving. May future productions of Humperdinck’s work succeed to this degree.