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

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

A Prom of Transformation and Transcendence: Renée Fleming and the Royal Stockholm Philharmonic Orchestra

This Prom was all about places: geographical, physical, pictorial, poetic, psychological. And, as we journeyed through these landscapes of the mind, there was plenty of reminiscence and nostalgia too, not least in Samuel Barber’s depiction of early twentieth-century Tennessee - Knoxville: Summer of 1915.

The Queen's Lace Handkerchief: Opera della Luna at Wilton's Music Hall

Billed as the ‘First British Performance’ - though it had had a prior, quasi-private outing at the Roxburgh Theatre, Stowe in July - Opera della Luna’s production of Johann Strauss Jnr’s The Queen’s Lace Handkerchief (Das Spitzentuch der Königin) at Wilton’s Music Hall began to sound pretty familiar half-way through the overture (which was played with spark and elegance by conductor Toby Purser’s twelve-piece orchestra).

Glyndebourne perform La clemenza di Tito at the Proms

The advantage of Glyndebourne Opera’s performances at the BBC Proms is that they give us a chance to concentrate on the music making. And there was plenty of high-quality music-making on offer at the Royal Albert Hall on Monday 28 August 2017 when Glyndebourne Opera performed Mozart’s La clemenza di Tito.

Rossini’s Torvaldo e Dorliska in Pesaro

The rare and somewhat interesting Rossini! Torvaldo e Dorliska (1815) comes just after Elisabetta, Regina di Ingleterra (the first of his nineteen operas for Naples) — a huge success, and just before Il barbiere di Siviglia in Rome — a failure.

Jakub Hrůša : Bohemian Reformation Prom

At Prom 56, Jakub Hrůša conducted the BBC Symphony Orchestra in a programme on the theme of the Hussite Wars and their place in Bohemian culture showing how the Hussite hymn was incorporated into music by Smetana, Martinů, Dvořák, Janáček and Josef Suk.

OPERA TODAY ARCHIVES »

Performances

David Portillo as Ralph Rackstraw and Sara Gartland as Josephine
15 Oct 2013

Fun Loving H.M.S. Pinafore Opens Arizona Opera

The star of the show was the agile Robert Orth as Sir Joseph Porter, the First Lord of the Admiralty. A fine operatic baritone, Orth’s patter was machine gun fast, crisp, and completely understandable.

Fun Loving H.M.S. Pinafore Opens Arizona Opera

A review by Maria Nockin

Above: David Portillo as Ralph Rackstraw and Sara Gartland as Josephine

Photos by Tim Trumble for Arizona Opera

 

Of the fourteen works that librettist William Schwenk Gilbert (1836-1911) and composer Arthur Sullivan (1842-1900) wrote together, H.M.S. Pinafore is one of the most popular. Its premiere took place on May 25, 1878, at the Opera Comique in Paris before a receptive audience. Although a summer heat wave dampened ticket sales, by September the show was playing to full houses. That same year the first unauthorized version of Gilbert and Sullivan’s Pinafore premiered in the United States and "Pinafore-Mania" began to sweep the nation. Dolls and other items based on its characters flew off store shelves while media of the time referred to lines from the show.

Approximately one hundred fifty unauthorized productions of Pinafore could be seen in the United States in 1878 and 1879, and not one of their producers paid a cent to the work’s creators. That is why the librettist and the composer boarded a steamship for New York hoping to set matters straight. When they arrived on November 6, 1879, a reporter from the New York Herald interviewed them, and one hundred and thirty-four years later, that interview is online here.

For many years afterwards Gilbert and Sullivan sued various entities in the U.S. in an attempt to establish control over their work and claim the royalties due them. They never succeeded. Pinafore opened in New York at the Fifth Avenue Theater on December 1, 1879. Unfortunately, the authorized version of the show only ran one month because most New Yorkers had already seen local productions.

AZ_Pinafore_02.pngRobert Orth as Sir Joseph Porter, Curt Olds as Captain Corcoran, and the Arizona Opera Chorus

On October 11, Arizona Opera open its 2013-1014 season in Phoenix with Tara Faircloth’s production of Gilbert and Sullivan’s Pinafore. As the main feature of his scenic design, Douglas Provost used a set from Tri Cities Opera of Binghamton, NY, which had various levels and compartments that allowed room for the performance of all the shenanigans a comic opera could call for. Colorful, detailed costumes from AT Jones and Sons of Baltimore set the time firmly in the latter half of the nineteenth century. The ladies wore intricate bustles, the sailors sported natty looking uniforms, and the ship’s officers were decked out with tons of gold braid. Director Tara Faircloth devised various types of comic antics for the cast but they never interfered with the singing. Every cast member had good timing and the highest ranks took the steepest pratfalls. There were titles for the sung numbers, but some of the spoken dialogue was rather fast and a bit hard to catch.

As Ralph Rackstraw, David Portillo moved well and his crème caramel lyric tenor voice rang out with passion for Josephine, his true love. Sara Gartland looked enchanting as Josephine and sang with an expanse of surging sound. Her voice was not as sweet as Portillo’s but their tones blended when they sang together. The star of the show was the agile Robert Orth as Sir Joseph Porter, the First Lord of the Admiralty, whom Josephine’s father wanted her to marry. A fine operatic baritone, Orth’s patter was machine gun fast, crisp, and completely understandable.

Mezzo-soprano Susan Nicely created a fascinating character as the lady whom Sir Joseph describes as “plump and pleasing Little Buttercup”. An excellent comedienne with an hourglass figure, she sang her part with an English contralto sound. Baritone Curt Olds has a long history of appearances in musical comedy which he put to good use in Pinafore. As the Captain, he officiated over hi-jinks galore.

Andrew Gray provided a bit of serious respite as the grumbling Dick Deadeye while the talents of two members of Arizona Opera’s young artist program, Beth Lytwynec and Calvin Griffin, added a great deal to the audience’s enjoyment. Henri Venanzi’s small chorus sang with impeccable harmonies and conductor Rob Fisher’s fast, light approach to the score elicited taught, springy rhythms from the ensemble. Arizona Opera gave its Phoenix audience a thoroughly joyous rendition of this lighthearted work.

Maria Nockin


Cast and production information:

Sir Joseph Porter, Robert Orth; Captain Corcoran, Curt Olds; Ralph Rackstraw, David Portillo; Josephine, Sara Gartland; Little Buttercup, Susan Nicely; Dick Deadeye, Andrew Gray; The Boatswain, Chris Carr; Cousin Hebe, Beth Lytwynec; The Mate, Calvin Griffin; Conductor, Rob Fisher; Director, Tara Faircloth; Chorus Master Henri Venanzi; Scenic Designer, Douglas Provost; Lighting Designer, Gary Eckhart; Costumes, AT Jones.

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):