23 Jul 2013
Glimmerglass’s rarely done ‘King for a Day’ a rare treat, well done
This zany production of Verdi’s only comic opera before ‘Falstaff’ keeps the singers in chaos and the audience in stitches
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
This zany production of Verdi’s only comic opera before ‘Falstaff’ keeps the singers in chaos and the audience in stitches
The heroes of the Glimmerglass production of Verdi’s rare — really rare — second opera, Un Giorno di Regno (King for a Day), are director Christian Rath, choreographer Eric Sean Fogel, and set and costume designer Court Watson. This trio has taken a work with a threadbare, unfunny plot, and only intermittingly inspired music, and transformed it into an afternoon of zaniness that delighted the audience in the Alice Busch Opera Theater in Cooperstown.
Verdi wrote this work in 1840 when he was 27. It is his only comic opera until Falstaff, the final masterwork of his old age. Un Giorno was booed by the audience in Milan, in part because of poor singing, and it received but a single performance.
Verdi bounced back from this disappointment with his third opera, Nabucco, which is about as far in spirit from Un Giorno as one could get. He was clearly not looking in the rear-view mirror. Just as he abandoned the comic path, so has the work been abandoned by opera houses in the last 173 years, although Europe has seen a few mountings.
The Rath team put the six principal singers and the chorus through all sorts of physical activity — climbing, jumping, boxing, kissing, dancing, and swinging chairs at each other in a chaotic closing scene to Act 1 that is reminiscent of The Barber of Seville and The Italian Girl in Algiers, both by Rossini, whose presence hovers over Verdi in this creation. The site gags come so thick and fast and are so ingenious that the audience forgets this soufflé could collapse at any minute if the temperature is not kept at a high heat.
Ginger Costa-Jackson as Marchesa
Rath signaled to the audience that a circus was about to start by projecting clown-costume circles of color on a white curtain during the toe-tapping overture. Then, in the English titling (for a production sung in English), the audience was invited to attend a double wedding and to allow four hours “to clear security.” Similar 21st century touches were interpolated in the text by Kelley Rourke, who did all she could to make this creaky story of young love thwarted (and then triumphant) relevant.
The stage business was so intricate, and non-stop, it was a wonder that the first performance went so smoothly. I expected the cast to fall off the steeply raked set at any moment and tumble into the orchestra pit, but no one did. Indeed, if anyone was ever out of place it wasn’t evident to the audience. The physical comedy delivered by the young cast assured a success.
Had Verdi not been the one to write this, however, no one would stage it today. So, is the great master present at all in the music? Here and there, yes. A few phrases from mezzo-soprano Ginger Costa-Jackson (as the Marchesa) find their way into Gilda’s music in Act 1 of Rigoletto. Some of the choral work prefigures Ernani.
What is more instructive, however, is how Verdi assimilated Rossini, Donizetti and Bellini in this work, which is only to be expected given how wet behind the ears he was. The basso buffo singing of Doctor Dulcamara (The Elixir of Love) and Don Pasqualeare not far from the surface in the music for bass Jason Hardy as the Baron Kelbar, and baritones Andrew Wilkowske (as La Rocca) and Young Artist Alex Lawrence as the King of the title. One extended passage for the King and chorus in Act 1 is a close parallel to music from Rossini’s Il Viaggio a Reims. A promising duet for tenor and baritone in Act 1 could be plopped into Bellini’s I Puritani without much alteration.
And so it goes for about two hours of music — little Verdi, but lots of early 19th century Italian opera by other masters. What he did demonstrate at 27 was his ability to write for the voice. The tenor part (the love-sick Edoardo, sung by Young Artist Patrick O’Halloran) is particularly fine.
As the Marchesa, Costa-Jackson was the only “name” singer in the cast. Dolled up in a red sheath and a blond beehive wig, she vamped around the stage, often holding a twinkly gray toy poodle that adamantly refused to move at one point in the first act. Her part lies high for a mezzo, and Costa-Jackson had some problems at the top of the range. But given she was in a track meet of a production that must have sorely taxed her lung power, it’s surprising she sang as well as she did.
Clockwise from top: Jason Hardy as Baron Kelbar, Patrick O'Halloran as Edoardo, Jacqueline Echols as Giulietta and Andrew Wilkowske as La Rocca
None of the three low-lying males — Hardy, Lawrence, and Wilkowske — has the cavernous bass or baritone voice, or the agility in articulation, to do justice to the patter. Nor do they have the blustering style of a Doctor Bartolo. All were too light for their roles, but they threw themselves into the proceedings with gusto, particularly Hardy. His impersonation of a boxer alone is worth the price of admission.
The best singing came from the young couple (who would become Nannetta and Fenton in Falstaff in another 53 years). Young Artist Jacqueline Echols was a prim Giuletta in her modest patterned dress. She has a melting soprano voice and terrific stage presence, even when singing from under the raked stage. As her true love Edoardo, O’Halloran looked like Clark Kent in an argyle sweater, matching socks, shorts and black-frame glasses. He doesn’t yet sing like Superman, but he has much potential. His voice seems agile enough for Rossini, but also with sufficient heft for Donizetti and Bellini. For me he was the most rewarding singer on stage.
The two smaller parts of Delmonte and Count Ivrea (who totters around on a walker) were assumed by two more Young Artists, Andrew Penning and Joe Shadday.
The performance was conducted by Joseph Colaneri, the new music director of the Festival. He miraculously led a crisp, tidy performance in which everyone stayed together even as they were rocketing around the stage. I don’t know how this was achieved, but it was. The orchestra played very well for its new boss.
Un Giorno can be heard on CD in a luxury cast that includes José Carreras, Jessye Norman, Fiorenza Cossotto and Ingvar Wixell on Decca, under conductor Lamberto Gardelli. The score holds up in repeated listening, particularly with the manic images from Glimmerglass in one’s head. Even though Rath’s production book must be 5,000 pages long, other companies might want to take a look at this rarity — if the cast is young and fit.
This review first appeared at CNY Café Momus. It is reprinted with the permission of the author.