26 Mar 2013
Cruzar la Cara de la Luna
Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
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.
Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris.
The matinee performance on Saturday March 16, 2013, in San Diego was the work's West Coast premiere. The title refers to the yearly migration of monarch butterflies between the United States and Mexico.
Prior to the arrival of the Spanish, the indigenous people of Mexico made music with rattles, drums, flutes, and conch-shell horns. The Spanish introduced violins, guitars, harps, brass instruments, and woodwinds which tended to replaced most of the original instruments. Native peoples learned to play and eventually to make the European instruments, which were first used only for Mass. Later the new instruments came into more general use but some of their shapes and tunings were adjusted for local use. Mexican music has evolved greatly over the intervening centuries, so it has undergone many changes. Mariachi music is thought to have developed from "Son" music, which featured guitars and harps played by part time musicians wearing huarache sandals and white clothing.
Cecilia Duarte as Renata
By the end of the nineteenth century, the traditions of European music were firmly established in Mexico and various forms of musical entertainment were written and performed by both Mexican and European artists. In rural areas, the members of local bands wore in charro outfits. Later this clothing would be worn by urban Mariachi bands, which until recently were all male. Mariachi music and the musicians who played it became more professional in the nineteen forties and fifties. Mariachi Vargas became a legend, appearing in films and accompanying stars singers. The group expanded by the addition of trumpets, violins and even a classical guitar so that they became a kind of orchestra, keeping the traditional son/mariachi base while integrating new musical ideas and styles. Mariachi Vargas traces its history from the 1890s. Generations of players have maintained the group's authenticity as a mariachi band while the music has evolved. Although the last Vargas associated with the group died in 1985, the group still considers itself the original band because the music has been passed down from one generation of musicians to the next.
Cruzar la Cara de la Luna (To Cross the Face of the Moon) has been performed in Houston and Paris. The matinee performance on Saturday March 16, 2013, in San Diego was the work's West Coast premiere. The title refers to the yearly migration of monarch butterflies between the United States and Mexico. Members of families, too, migrate between the two countries and sometimes spend a great deal of time away from their loved ones. Much of the audience in San Diego's sold out Civic Theater was Mexican-American and many of the people could relate personally to the family portrayed on stage. The show opened with Brian Shircliffe as Mark singing of the butterflies and accompanying himself on the guitar. His baritone voice sounded like liquid gold and his song was the beginning of a very intense performance.
Soprano Brittany Wheeler portrayed the Americanized Diana, a member of the latter generation, who wanted to catch up with her Mexican past. Vanessa Cerda-Alonzo was Lupita, a Mexican village wife whose husband was spending most of his time away from her. Both of them sang with dramatic tones as they portrayed their important characters. Colombian tenor David Guzman was the lone high male voice in this performance and his trumpet-like sound was a good fit with the Mariachi orchestra and the lower voices of much of the cast.
Cecilia Duarte as Renata, Brittany Wheeler as Diana and Octavio Moreno as Laurentino
The most fascinating character was Renata, played by Mexican mezzo-soprano Cecilia Duarte. She sang both lyrical and dramatic songs, she also danced, and her characterization brought tears to the eyes of many in the audience. Because Renata missed her husband, she hired a guide to take her and her son to him. She told no one that she was pregnant and wanted her baby to be born in the States. Unfortunately the long walk through the desert was too hard for her and, like others before her, she died before reaching her goal. The guide took the little boy back to Mexico, but he did not see his father for many years. Duarte gave an amazing performance and I would love to see her again.
Saul Avalos was a committed Chucho; Octavio Moreno a strong voiced Laurentino, and Juan Mejia an energetic Victor. The music composed by José Pepe Martinez is sometimes dramatic and at other times lyrical with kind of a big band sound from muted trumpets. His use of the harp added welcome rhythmic textures while the text told the story clearly and with considerable detail. Foglia's scenery was practical, Cesar Galindo's costumes attractive, and the lighting by Brian Nason made the visuals most effective.
Supertitles were offered in both languages so that whether you spoke Spanish or English you always knew what was being sung. The Mariachi band was led by violinist Jose Martinez, Sr. The three trumpets were always perfectly in tune, as were the harp, vihuela, guitarron, and guitar, but there were one or two instances when the violins were not completely synchronized. It's a shame that the company was only in San Diego for one day. Let's hope they will soon be back. Before and after the opera there were performances by Mariachi bands on the plaza outside the theater and it was good to see so many excellent local groups taking part.