Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Titus Lightens Up in Saint Louis

Mozart’s opera seria, La Clemenza di Tito, performed in English at Opera Theatre of Saint Louis did something I did not think possible.

Il turco in Italia: Garsington Opera

Martin Duncan's production of Rossini's Il turco in Italia debuted in 2011, only the second production to be performed in Garsington Opera's then new home at Wormsley. Revived for the first time on 25 June 2017, David Parry was again conducting with Quirijn de Lang as Selim, Geoffrey Dolton as Don Geronio and Mark Stone as Prosdocimo returning to their roles, plus Sarah Tynan as Fiorilla, Katie Bray as Zaide, Luciano Botelho as Narciso and Jack Swanson as Albazar. Designs were by Francis O'Connor, with lighting by Mark Jonathan and movement by Nick Winston.

Glyndebourne's wartime Ariadne auf Naxos

It’s country-house opera season, and Glyndebourne have decided it’s time for a return of Katharina Thoma’s country-house-set Ariadne auf Naxos, first seen in 2013. Thoma locates Strauss’s opera-about-opera in a 1940s manor house which has been sequestered as a military hospital, neatly alluding to Glyndebourne’s own history when it transformed itself into a centre for evacuees from east London and the Christie children’s nursery became a sick bay.

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

OPERA TODAY ARCHIVES »

Performances

Victoria Munro (center) with the children's chorus in The Glimmerglass Festival's 2013 production of David Lang's The Little Match Girl Passion. Photo: Karli Cadel/The Glimmerglass Festival.
01 Aug 2013

Glimmerglass’s handsomely staged ‘Passions’ expands the boundaries of oratorio

The double-bill program of sacred vocal works uses choreography, sets and costumes to heighten the drama within the music

Glimmerglass’s handsomely staged ‘Passions’ expands the boundaries of oratorio

A review by David Abrams

Above: Victoria Munro (center) with the children's chorus in The Glimmerglass Festival's 2013 production of David Lang's The Little Match Girl Passion. [Photo: Karli Cadel / The Glimmerglass Festival]

 

Passions seem to be running high at Glimmerglass Festival.

The company’s ambitious double-bill program, carrying the title Passions, takes a pair of sacred vocal masterpieces written some 270 years apart and turns up the drama by adding staging and costumes. The finished product produces a handsome visual experience that complements the music.

The title of the program is somewhat misleading, given that neither Giovanni Battista Pergolesi’s Stabat Mater nor David Lang’s The Little Match Girl Passion fits the definition of a passion: a story recounting the suffering of Christ at the Cross. Nor do these works fit the definition of an oratorio or cantata, due to the staging. But whatever you prefer to call it, it’s clear that the present reworking of these pieces adds an appealing visual element to an already potent musical experience.

The Stabat Mater in C Minor, which gets my vote for the artistic highlight of the evening, was Pergolesi’s final composition: He succumbed to consumption in 1736, shortly after finishing the work. He was 26 years old. The oratorio for soprano and alto soloists with strings and continuo enjoyed widespread popularity — both within and beyond the Baroque era. (Listeners familiar with the film Amadeus will no doubt recognize the final measures of the concluding Amen, which is quoted in the film.)

The quality of musical performance in this Glimmerglass production, buoyed by a pair of first-rate vocal soloists and the meticulous direction of conductor Speranza Scappucci, was outstanding. So, too, was Jessica Lang’s choreographed body movement — which resonated well with the deep pathos of the music.

The dancers were often synchronized in coordinated motions with the vocal soloists, as if paired in a dramatic pas de deux of pain and anguish. Indeed, the writhing and twisting of bodies, along with contrasts of shadow and light made possible by Mark McCullough’s lighting effects, reminds me of figures in a Caravaggio painting. The minimalist set comprising two giant logs slowly changed position to suggest everything from trees to The Last Supper and the Crucifixion.

The decision to substitute a countertenor for the more customary alto or mezzo-soprano soloist afforded Anthony Roth Costanzo an opportunity to showcase his considerable powers of expression. Costanzo, whom some may remember as Ferdinand in the Metropolitan Opera’s Baroque fantasy pastiche, The Enchanted Island, simulcast live in HD a year ago January, produced a pure and creamy male alto that blended smoothly with Nadine Sierra’s silky soprano.

The flexibility of Costanzo’s vocal timbre was especially apparent in those numbers involving trills and other ornaments — such as theQuae moerebat et dolebat, which he performed handsomely in-sync with the dancers. His stark dynamic shifts in the Quis non posset contristari at the end of the duet with Sierra were particularly effective. I was especially moved by Costanzo’s deeply expressive vocal delivery, and the smoothly shaped movement of his arms and torso throughout the dramatic and stately Eja mater fons amoris.

Like Costanzo, Sierra’s soprano was full of expression and color, and the movement of her body in tandem with the dancers looked natural and effortless. This combination of sweetness and passion was apparent early on, beginning with the Cujus animam gementem — a lamentful aria that shows off her rich and mellow lower register. Sierra is secure in the higher register as well, as evident in her tender duet O quam tristis, sung in thirds with the second vocal part. Sierra’s dexterous execution of the rapid trills and ornaments in the duet Fac, ut ardeat con meum (one of the rare fast numbers in this oratorio) was particularly impressive.

The most effective use of the set comes at the mournful final number, Quando corpus morietur — the evocative duet that precedes the concluding Amen. For me, this was the most emotionally charged number in the piece. Here, the staging helps capture the mood of resignation as the logs join together to forge a long table that seats the dancers —symbolizing The Last Supper.

Audience reaction to the performance was swift and uniform — an immediate andprolonged standing ovation peppered with voracious shouts of approval for the soloists, conductor, instrumentalists, dancers, choreographer and set director (Marjorie Bradley Kellogg).

* * * * * * * * * * * * * * * * * * * * *

David Lang’s The Little Match Girl Passion, based largely upon a Hans Christian Anderson tale, tells the story of a poor young girl (Victoria Munro) forced by her cruel father to sell matches in the streets on New Year’s Eve. Barefoot, cold and hungry, the little girl strikes match after match trying to keep warm, but — spoiler alert! — she will not live to see the start of the new year.

As was the case with the Stabat Mater, dramatic potency is heightened as a direct result of the staging — which in this case is dominated by the presence of a 24-voice children’s chorus costumed to look like characters in the Broadway musical, Oliver! A steady stream of falling snowflakes (a nice touch by Director Francesca Zambello) evokes the coldness of the streets and reminds us that the warmth of the Christmas season is not within reach of all.

In spite of the handsome visuals, however, Lang’s music — which is remarkably effective in the sparsely voiced original with a quartet of singers doubling on percussion instruments — loses much of its intimacy and focus in the larger, staged setting of the work. Indeed, it was the chamber version of The Little Match Girl Passion, and not Lang's subsequent choral arrangement, that earned the 2008 Pulitzer Prize in music. (A convincing recording of the original version with Paul Hillier’s Theater of Voices is available on the Harmonia Mundi label.)

Lang’s writing in this piece may best be described as a synthesis musical styles from both past and present, bonded together with post-minimalist techniques such as unrelenting repetition of melodic patterns, overlapping rhythms and painstakingly slow harmonic motion (speed of the chord changes).

Critics have likened the meditative quality of Lang's music to plainchant, but a more accurate comparison would be the vocal polyphonic styles of the Medieval and Renaissance eras, including 13th century cantus firmus techniques (where the lower part moves much slower than the rest), as well as elements from 15th century motets and 16th century madrigals. But once you abandon the intimacy of a one-on-a-part performance, you forfeit much of its meditative and personal appeal, as well. In the end, the presence of the chorus in Lang's work provided more of a distraction than a musical complement.

Because Lang treats the four voices as quasi-contrapuntal independent melodic lines, it's a constant challenge for the singers to blend sound and match pitches with any degree of consistency. The four Glimmerglass Young Artists program soloists — soprano Lisa Williamson, mezzo-soprano Julia Mintzer, tenor James Michael Porter and bass Christian Zaremba — did justice to this work, and each delivered an impressive individual effort. There were occasional moments where blend of tone sounded choppy and pitch among the four was questionable. Still, the overall effort was impressive. Credit James Michael Porter with navigating the upper tenor register with apparent ease and stability.

The large but well-disciplined children’s chorus moved about the stage gracefully under the preparation and guidance of choreographer Andrea Beasom (another Glimmerglass Young Artist), and the chorus maintained a pleasant and homogenous blend of tone. Many of Lang’s sonorities, however, proved a bit too challenging for the youngsters, who struggled with intonation issues throughout the performance.

I expect many of these performance problems will iron themselves out over the course of the production run. The Little Match Girl Passion is a masterpiece of contemporary dramatic vocal writing, but it takes a first-rate performance to do it justice. It's well worth the effort. And passion.

David Abrams

This review first appeared at CNY Café Momus. It is reprinted with the permission of the author.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):