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
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
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.