10 May 2013
Aida, Manitoba Opera
Poor Aida! She never seems to have anything go her way.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.
There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.
Poor Aida! She never seems to have anything go her way.
From the opening scene of Manitoba Opera’s lavish production of Verdi’s beloved four-act opera, we knew the ill-fated Ethiopian title princess (disguised as a slave) was conflicted.
Canadian soprano Michele Capalbo is the embodiment of the long-suffering Aida, in love with Radames, captain of the guard. In dramatic stance, she sang of her contradictory loves for her father, the Ethiopian king, her country and Radames. We could feel her heartbreak through the passion of her lithe singing in “Ritorna vincitor”, every note crafted to shimmering perfection. Capalbo’s ability to make the softest pianissimo note build and swell into a booming fortissimo is nothing short of extraordinary. (And she makes it seem easy.)
Aida’s love interest, Radames, played by Puerto Rican tenor Rafael Davila returns her affection, proclaiming his love eloquently in Celeste Aida, forma divina, sustaining the ultimate B-flat with impressive assurance. Davila’s robust voice is versatile, enabling him to exude the confidence of the conquering hero, yet also portray the sweet lover to the hilt. Only a slight crack in his voice as he reached for the upper register in “Pur ti riveggio, mia dolce” Aida signalled some fatigue.
Here’s where things got complicated. Aida’s employer, Amneris (Italian mezzo soprano Tiziana Carraro) daughter of the King of Egypt, also loves Radames. Amneris is determined to marry Radames, but suspects that Aida is her rival.
Carraro has a true presence onstage, with her sultry walk and strong features. Her velvety, somewhat throaty vocal quality aptly conveyed her jealous doubts. One distracting tendency, however, limited her ability to engage the audience. As she sang, she cast her eyes downward, only looking up when she stopped singing. She never looked out beseechingly for empathy; rarely looked at her singing partners, even when declaring love to Radames. This denied any real chemistry between characters.
David Watson sang the role of the King of Egypt with his customary reliability and wonderful clear diction. Tenor Terence Mierau took his brief role of messenger to heart, giving it an impassioned performance and it’s always a pleasure to hear the fine, pure voice of Winnipeg soprano Lara Ciekiewicz, resplendent here as the High Priestess.
All eyes were drawn to bass Phillip Ens as Ramfis, High Priest of Egypt in his gold-encrusted robe. He brought the requisite grandeur and authority to the role, his bold delivery and rumbling voice almost shaking the ground.
We didn’t see baritone Gregory Dahl (Amonsaro, King of Ethiopia/Aida’s father) until late in the opera, but his warm, powerful voice and commanding presence were worth the wait.
Of special note was the superbly balanced ensemble work — every individual voice distinguishable. And the tomb scene was unforgettably touching, with Capalbo and Davila pulling on the audiences’ heartstrings as they sang their final and most desperate final words.
Mounting this work boasting over 100 performers onstage was an awe-inspiring accomplishment for director Brian Deedrick and stage manager Robert Pel.
As an entertainment piece, this presentation has it all — ornate, gilded sets, Egyptian friezes and a gigantic sphinx-like head designed by Roberto Oswald, lavish costuming from Edmonton Opera, and lighting by Scott Henderson that subtly assisted us to predict the action as it shifted with the mood.
The women’s chorus in the boudoir scene sang with flowing youthfulness, while the men were all pomp and power. Athletic dancers, several from the Royal Winnipeg Ballet Aspirant Program leapt across the stage wielding knives and swords. And the Winnipeg Symphony Orchestra in the pit was in good hands with conductor Tyrone Paterson, with just a few discrepancies in tempo between singers and orchestra. Bravo to the brass section for its authentically triumphant, military majesty.
This was an impressive production of mammoth proportions superbly crafted in every detail.