Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

Three Centuries Collide: Widmann, Ravel and Beethoven

It’s very rare that you go to a concert and your expectation of it is completely turned on its head. This was one of those. Three works, each composed exactly a century apart, beginning and ending with performances of such clarity and brilliance.

Seventeenth-century rhetoric from The Sixteen at Wigmore Hall

‘Yes, in my opinion no rhetoric more persuadeth or hath greater power over the mind; hath not Musicke her figures, the same which Rhetorique? What is a but her Antistrophe? her reports, but sweet Anaphora's? her counterchange of points, Antimetabole's? her passionate Aires but Prosopopoea's? with infinite other of the same nature.’

Hrůša’s Mahler: A Resurrection from the Golden Age

Jakub Hrůša has an unusual gift for a conductor and that is to make the mightiest symphony sound uncommonly intimate. There were many moments during this performance of Mahler’s Resurrection Symphony where he grappled with its monumental scale while reducing sections of it to chamber music; times when the power of his vision might crack the heavens apart and times when a velvet glove imposed the solitude of prayer.

Full-Throated Troubador Serenades San José

Verdi’s sublimely memorable melodies inform and redeem his setting of the dramatically muddled Il Trovatore, the most challenging piece to stage of his middle-period successes.

Opera North deliver a chilling Turn of the Screw

Storm Dennis posed no disruption to this revival of Britten’s The Turn of the Screw, first unveiled at Leeds Grand Theatre in 2010, but there was plenty of emotional turbulence.

Luisa Miller at English National Opera

Verdi's Luisa Miller occupies an important position in the composer's operatic output. Written for Naples in 1849, the work's genesis was complex owing to problems with the theatre and the Neapolitan censors.

Eugène Onéguine in Marseille

A splendid 1997 provincial production of Tchaikovsky’s take on Pushkin’s Bryonic hero found its way onto a major Provençal stage just now. The historic Opéra Municipal de Marseille possesses a remarkable acoustic that allowed the Pushkin verses to flow magically through Tchaikovsky’s ebullient score.

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):