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.
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.
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).
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.
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.
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.
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
Queens, Heroines and Ladykillers: A Tribute to Lorraine Hunt Lieberson
It must be both a privilege and a
daunting prospect to be asked to participate in a tribute concert to the
singer, who died from breast cancer in 2006; here three mezzo-sopranos stepped
up to the honour and the challenge, joining the Orchestra of the Age of
Enlightenment - with whom Hunt Lieberson collaborated closely at Glyndebourne
and on CD - celebrating three contrasting, full-blooded female roles from
Karine Deshayes (a late replacement for the indisposed Stéphanie
D’Oustrac) began and ended the evening with Sesto’s arias, ‘L’angue
offeso mai riposa’ (The offended serpent will not rest) and ‘Svegliatevi
nel core’ from Giulio Cesare respectively. Deshayes has a vibrant
voice, particularly at the top, and she nimbly negotiated the passage work.
But, while there was undoubted rage and impassioned purpose, she didn’t quite
capture the emotional depth and range of these arias, as Sesto vows vengeance
against Ptolemy for the assassination of his father.
Thus in Sesto’s first number in the opera, there was much bite in the
repetitions of ‘Svegliatevi’ (awaken) as Sesto determines to muster the
fury in his soul. Yet, in the central section of the da capo form, as Sesto’s
thoughts turn to the father he has lost only moments before, the heaviness in
his heart outweighs his impotent anger; there is vengeance but also grief.
William Christie drew a fittingly spare timbre from the accompanying OAE, but
Deshayes did not quite match the players’ melancholy, sombre weight.
‘Figlio’ (son) needs rather more plangent emphasis, as Sesto both implores
his father and imagines his paternal words of counsel and support.
In Glyndebourne’s 2006 production of Theodora, Hunt Lieberson
took the part of Irene, the protagonist’s devoted supporter. Irene’s arias
are intense, heartfelt statements of faith as her beloved friend, Theodora, an
early Christian, is persecuted and condemned by the Romans. Reviewing the live
recording of Peter Sellars’ acclaimed production, Rupert Christiansen
commented, ‘it is impossible to conceive of this character’s arias being
sung with more grave beauty or emotional commitment than [Hunt Lieberson]
brings to them’.
Quite a tall order, then, for Anna Stéphany, performing ‘Ah! Whither
should we fly’ and ‘Lord to Thee each night and day’. Stéphany combined
vocal beauty with convincing characterisation, Christie shaping the contrasting
tempos and textures with style but without undue mannerism. A gentle firmness
characterised the voice in ‘As with rosy steps’; Stéphany’s lower
register was rich and sonorous, and she dared to adopt a whispering
pianissimo to moving effect. In ‘Lord to thee’ Stéphany
introduced a startling change of character in the second part of the aria,
‘Though convulsive rocks the ground’, which served to make the profound
devotion of the da capo repeat yet more affecting.
‘Where Shall I Fly?’ from Hercules is a tour de force
of theatrical and histrionic drama and Renata Pokupić was almost equal to its
vocal demands. As Hercules’ jealous, fiery wife, she delivered Dejanira’s
desperate self-reproaches with an impressive combination of spontaneity and
control, but her lower range sometimes lacked power and penetration, and she
didn’t quite pierce the depths of Dejanira’s subconscious mind. Pokupić
encompassed the extensive melodic range of the virtuosic ‘Dopo Notte’
(After night), from Ariodante with skill, the registers more even
here, although the syncopated rhythms which drive the music forward sometimes
lacked precision. It was, however, a fine showcase for her communicative
panache; Ariodante’s exuberant joy at being reunited with his beloved Ginevra
was compellingly and upliftingly conveyed.
The Orchestra of the Age of Enlightenment provided an animated, responsive
accompaniment to all three soloists, William Christie finding a perfect balance
of grace and power. The emphatic playing by the celli and double basses in the
overture to Giulio Cesare - perhaps encouraged by the explosive
stamp with which Christie commenced some of the instrumental numbers! - was
complemented by more reflective bass meanderings in the overture to
Theodora. In the two concerti grossi there was considerable variety of
both texture and mood, and the playing of the three soloists was crisp and
rhythmically exciting. The relationship between soloists and ripieno
was one based upon sharing and exchange, the flow seamless, the tempi
invigorating. As a closing tribute to Hunt Lieberson, Christie announced an
encore; the diverse sentiments of the ‘Musette’ from Concerto Grosso Op.6
No.6 were a perfect homage to the singer’s artistry and integrity.
Giulio Cesare - Overture; ‘L’angue offeso mai
riposa’; Theodora - ‘Ah! Whither should we fly As with rosy
steps the morn’; Concerto Grosso in B minor, Op.6 No.12; Hercules
- ‘Whither shall I fly?’; Theodora - Overture; Lord, to
‘Thee each night and day’; Ariodante - ‘Dopo notte’;
Concerto Grosso in B flat, Op.3 No.2; Giulio Cesare - Svegliatevi
nel core. Royal Festival Hall, Southbank Centre, London, Monday 3rd