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
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
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.