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

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

OPERA TODAY ARCHIVES »

Performances

A scene from <em>Bonjour M. Gauguin</em> [Photo by Alessandra Mello courtesy of West Edge Opera]
11 Apr 2013

Bonjour M. Gauguin in Berkeley

Once Berkeley Opera, renamed West Edge Opera, this enterprising company offers the Bay Area’s only serious alternative to corporate opera, to wit Bonjour M. Gauguin.

Bonjour M. Gauguin in Berkeley

A review by Michael Milenski

Above: A scene from Bonjour M. Gauguin

Photos by Alessandra Mello courtesy of West Edge Opera

 

It was the reprise of an opera by an enterprising young Italian composer, Fabrizio Carlone (b. 1970) who promoted its premiere in Venice in 2005 that included the manufacture of a CD and DVD. No doubt short on cash West Edge Opera is long on creativity, the least of which was discovering this already far-away produced opera, thus saving the considerable costs of a first performance while offering the Bay Area the excitement of operatic discovery.

It was a pleasurable evening of something new, not just another Magic Flute, and we discovered more than a new opera — we were reminded of the French painter Paul Gauguin with more information than most of us ever knew.

And once again we witnessed a new generation, that of this young Italian composer, chanting its mantra of revolution and finding a new victim/hero to sing about.

Gauguin2.gifAnders Froehlich as Gauguin, Shawnette Sulker as his inner voice

We learned that messieur Gauguin was not a very nice man who died enriched (finally) by his artistic and moral sweat — current sentiment does not seem to concern itself with condemning dishonorable behavior nor honoring penniless death. It was a sequential, exhaustive (about two hours) account of his life in snippets of his own and his contemporary’s words. An unusual libretto that was more a lecture about Gauguin and his art than a dramatic action.

It was in fact absolutely flat dramatically, the French language, by nature little inflected was in perfect accord with Mr. Carlone’s music that percolated underneath achieving quiet, never overly intense musical climaxes. And these emotional climaxes, of which there were a considerable number, were intellectual rather than visceral insuring an evenly illuminated two-hour musical and histrionic landscape.

The actions of geographic change were narrated. Gauguin’s reflections and his contemporaries reactions were recited. This prompted West Edge producers to embellish the lengthy text with abstract dance movement except when specific action was mimed in overt description. The staging was entrusted to Bay Area choreographer Yannis Adoniou who with his dance group Kunst-Stoff, a company of five dancers, energetically executed complex, unceasing movement. The odd number of dancers was evened to six (three male/female couples) when it was joined by Gauguin himself, dancer Anders Froehlich.

M. Froehlich is also an accomplished singer, a fine light baritone who achieved with apparent ease the refined lyricism required by the composer. If without the roughness and rudeness of the described Gauguin this singer fulfilled to near perfection the intellectual and conceptual elegance of the score and this production.

Composer Carlone’s Gauguin was complemented by an inner voice, the exotically costumed soprano Shawnette Sulker who is endowed with a rich voice that she used securely to fulfill the extensive and challenging coloratura requirements of the role. When joined by Gauguin and the three narrators, Keith Perry, Paul Murray and Nicole Takesono, Mlle. Sulker provided the brilliant upper edge to finely wrought five-voice ensembles that were among the musical highlights of the evening.

There were some staging resolutions that defied comprehension, like the bare innerspring mattress that was thrown about the stage nearly the entire evening. Had it related to the bed on which the artist Gauguin laid his naked Tahitian girl in Spirit of the Dead Watching we might have felt some visual structure to the staging of the opera.

Gauguin3.gifKeith Perry, Paul Murray and Nicole Takesono as Narrators, Anders Froehlich as Gauguin, Shawnette Sulker as his inner voice, and dancers

The action of Gauguin painting his Tahitian masterpiece Spirit of the Dead Watching occurred near the end of the opera, and was the biggest moment of the opera. It was mimed by Gauguin and described by Gauguin as well, and illustrated by photographic images projected on the large screen that dominated stage right. This splendid scene was of unusual intensity that even brought to mind Berlioz’ Benvenuto Cellini casting his statue of Perseus — a David and Goliath comparison, nonetheless germane.

This large screen however was unceasing illuminated throughout the evening by images of paintings that most often were by Gauguin, but often times were by other artists, rarely identified, prompting personal mental scurrying to identify the images and reconcile them to the narration. As well the English translation of the sung French was projected on this screen. Watching this screen and frantic thinking came into direct conflict with participating in the performance.

Conductor Mary Chun and the San Francisco Sound Group Orchestra were in the pit. Mme. Chun oversaw the realization of composer Carlone’s score with authority, precision and sensitivity. She created a musical warmth that encouraged the exceptional level of lyricism achieved by the singers, all in recognition of composer Carlone’s lyric gifts (he is Italian, so supposedly they come naturally).

The San Francisco Sound Group was comprised of nine players entrusted with illuminating composer Carlone’s pallet of, therefore, nine colors. A limited pallet for two hours of music. Composer Carlone’s pedigree is impeccable, including the Ferienkurs für Neue Musik in Darmstadt and the Académie d’été of Ircam in Paris. Thus much current European compositional technology is present in his basically neo-impressionist style. There was a plethora of textures, shapes and rhythms if not volume.

Michael Milenski


Cast and production:

Gauguin: Anders Froehlich; Inner Voice: Shawnette Sulker; Clovis Gauguin: Schuler Wijsen; Narrator #1: Keith Perry; Narrator #2: Paul Murray; Narrator #3: Nicole Takesono; Dancers: Yannis Adoniou, Jerremy Bannon-Neche, Lindsey Renee Derry, Katie Gaydos, Kate Jordan. The sfSoundGroup Orchestra. Conductor: Mary Chun, Stage Director/Choreographer: Yannis Adoniou; Lighting Designer: Lucas Benjaminh Krech; Video Designer: Jeremy Knight; Costume Designer: Shannon Maxham. El Cerrito High School Auditorium, April 6, 2013.

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):