Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Matthias Goerne and Seong-Jin Cho at Wigmore Hall

Is it possible, I wonder, to have too much of a ‘good thing’? Baritone Matthias Goerne can spin an extended vocal line and float a lyrical pianissimo with an unrivalled beauty that astonishes no matter how many times one hears and admires the evenness of line, the controlled legato, the tenderness of tone.

Philip Venables: 4.48 Psychosis

Madness - or perhaps, more widely, insanity - in opera goes back centuries. In Handel’s Orlando (1733) it’s the dimension of a character’s jealousy and betrayal that drives him to the state of delusion and madness. Mozart, in Idomeneo, treats Electra’s descent into mania in a more hostile and despairing way. Foucault would probably define these episodic operatic breakdowns as “melancholic”, ones in which the characters are powerless rather than driven by acts of personal violence or suicide.

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

OPERA TODAY ARCHIVES »

Performances

Brian Shircliffe as Mark [Photo by Edward Wilensky courtesy of San Diego Opera]
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.

Cruzar la Cara de la Luna

A review by Maria Nockin

Above: Brian Shircliffe as Mark

Photos by Edward Wilensky courtesy of San Diego Opera

 

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.

IMG_4460.pngCecilia 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.

IMG_4273.pngCecilia 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.

Maria Nockin


Click here for cast and production information.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):