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
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
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.