Recently in Performances
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
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.
22 Sep 2013
Mefistofele in San Francisco
Here is the exception. The revival of an old opera production need not always be perceived as an expedient (read cheap) solution to getting a season of opera put together, but may pass instead as an artistically thoughtful choice.
Just now San Francisco Opera has presented Arrigo Boito’s Mefistofele, in a 25 year old production by Canadian stage director Robert Carsen who was 34 years old at its premiere in Geneva in 1988. Carsen’s production, designed by Michael Levine (who was 27 years old back in 1988), is brilliantly witty. Maybe its racy titillations (bared female breasts and exposed male genitalia) were racier back in the ’80’s than they are now but they still brightly illuminate Mefistofele as one of opera’s more bizarre artifacts.
What the Carsen production did not have at its 1989 premiere in San Francisco was conductor Nicola Luisotti whose exuberant showmanship and spectacular musical making have found, finally, an opera production that is their match. It is no secret that the glories of the Luisotti pit frequently dwarf what is on the stage in San Francisco, or more often ignore the intentions of the stage, meager may they be these days. Here however the Boito, Carsen and Luisotti collaboration was one clearly envisioned in heaven.
The 1860’s were heady times in Paris and Milan, Offenbach was at the peak of his fame making fun of both love and antiquity sparing, strangely, religion. In Milan however there were a few outrageous poets (messy haired ones) who took on anything sacred to the Italians, be it personal appearance, God or Goethe. One of them (these scapigliature) was Arrigo Boito, 26 years old in 1868, who deftly extracted a few passages from the bible of bourgeois Romanticism, i.e. Goethe’s Faust and construed them to cruelly satirize nineteenth century self-fulfillment aspirations.
Patricia Racette as Margherita and Ramón Vargas as Faust
These were not modest times operatically — Verdi’s Don Carlo comes in 1867. The fully developed 19th century Italian sound was widespread as evidenced by the many composers who contributed to the Messa per Rossini (1869). A man of letters and a man of his times Boito could write music as well as librettos. The operas Mefistofele and Nerone are his musical legacy. Their style is typically Italian of the period, warmed somewhat with oltralpe sonorities (beyond the Alps means Wagnerian, a dirty word in Italy just then). It is good music.
Obviously Boito’s Mefistofele is massive, given it addresses the always important struggles of good and evil. God and the Devil confront one another, Faust is in between, Marguerite is pathetic and Helen of Troy is untouchable. Robert Carsen manages all this with enough supernumeraries to turn a village fair into a Chinese New Year of the Snake running amok in the Garden of Eden, a huge chorus of nymphs and satyrs is unleashed into an out-of-control bacchanal, and a pristine ballet revels to the beauty of classical architecture shining in an hyper elaborated harp solo. All of this overseen by a massive chorus of heavenly angels who are joined by legions of cherubim at the moments when the glory of God rises to its utmost clamor.
Needless to say everyone has a very good time, most of all maestro Luisotti who can unleash the forces of heaven themselves in massive choirs of praise as well as confront God with outright derision — those two piccolos screaming over the orchestra were only some of the whistles you heard (the fischio [whistle] is obvious derision in Italy), the rest were real. In spite of being condemned to death even poor Marguerite has a good time — her aria is one of the splendors of the soprano repertory. It was in fact an exquisite duet with the maestro, the diva in quite fine voice at the third performance.
Carsen’s indulgence of affection for Boito’s youthful escapade was sweetened by the casting of Mexican tenor Ramon Vargas as Faust. His is a voice of great beauty still most at home in the light lyric repertory (he was San Francisco’s Nemorino). At 53 years of age Vargas now takes on heavier roles, like Boito’s Faust as well as Gustavo III in Un ballo in maschera last summer at Orange. Here he sang with consummate style and musicianship, and with the maestro made a quite moving declaration of love to Helen. Nonetheless he remains a miniature tenor for the big repertory and therefore could perfectly embody a pretend Romantic hero caught up in all this fun.
Much the same can be said for the Mefistofele of Russian bass Ildar Abdrazakov. He gave a maximally effective performance, vocally and histrionically. In fact Mr. Abdrazakov was absolutely adorable as a pretend villain whose sole purpose is to give rise to lots of fortissimo music. While it surely was expedient to cast Adler Fellow Marina Harris as Helen of Troy it was not appropriate. However fine a young singer may be it is rare that an Adler Fellow may have the presence, personality and experience to hold the stage in a major role. After all, San Francisco Opera boasts that it performs on the international level. Or does it?
The Robert Carsen/Michael Levine production is huge, and hugely fun. It is a masterpiece that was well worth reviving. If you miss it just now in San Francisco you can catch it at the Met in 2015 (conductor and cast not yet announced). And, uhm, it was anything but cheap to get this production back on the stage after twenty five years of travel.
Cast and production information:
Mefistofele: Ildar Abdrazakov; Margherita: Patricia Racette; Faust: Ramón Vargas; Elena: Marina Harris; Marta: Erin Johnson; Pantalis: Renée Rapier; Wagner/Nereo: Chuanyue Wang. Chorus and Orchestra of the San Francisco Opera. Conductor: Nicola Luisotti; Production: Robert Carsen; Stage Director: Laurie Feldman; Choreographer: Alphonse Poulin; Set and Costume Design: Michael Levine; Lighting Design: Gary Marder. San Francisco War Memorial Opera House. September 14, 2013.