23 Oct 2013
Verdi’s Otello at Lyric Opera of Chicago
Lyric Opera of Chicago has opened the season with a revival of its 2001 production of Giuseppe Verdi’s Otello.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
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.
Lyric Opera of Chicago has opened the season with a revival of its 2001 production of Giuseppe Verdi’s Otello.
The cast for the first performance included Johan Botha as Otello, Ana María Martínez as Desdemona, both Falk Struckmann and Todd Thomas singing the role of Iago, the former withdrawing because of indisposition after Act I. This performance also featured the American debut of tenor Antonio Poli as Cassio, John Irvin as Roderigo, Julie Anne Miller as Emilia, Evan Boyer as Lodovico, Anthony Clark Evans as Montano, and Richard Ollarsaba as a herald. The production was originally directed by Sir Peter Hall; the present revival is directed by Ashley Dean. Bertrand de Billy makes his Lyric Opera debut conducting these performances, and Michael Black is officially Chorus Master with the start of the current season.
Johan Botha as Otello and Falk Struckmann as Iago
From the energetic start of the first act the role of the chorus of Cypriots is emphasized. As the people shout in their enthusiastic pleas for Otello’s success, Iago’s voice of negation is clearly audible. Struckmann’s Iago intoned with chilling force his contrary wishes for Otello’s failure and even demise in the “alvo frenetico del mar” (“frenzied bed of the sea.”). When the hero alights triumphantly on shore, he declares to the jubilant Cypriots “Esultate!” (“Rejoice!”). From this exciting start it was clear that Mr. Botha inhabits a role truly suited to his voice. The high dramatic notes and outbursts, so characteristic of Otello’s volatile nature, are produced effortlessly and with accurate, direct focus of pitch in Botha’s convincingly emotional delivery. In the subsequent duet between Iago and Roderigo the motive for jealousy and ill-will is revealed. Iago resents the recent promotion of Cassio to the rank of captain since he wished to receive the distinction himself. In his plan to exact vengeance Iago confides in Roderigo and urges the latter’s infatuation with Desdemona. Struckmann as Iago and Mr. Irvin in the role of Roderigo both showed a distinguished sense of lyrical line in the verbalization and coalescence of their respective emotions and thoughts. The sacrifice in this ruse will of course be Cassio who is encouraged to drink until he loses control. In this American debut Mr. Poli made a strong impression as a singing actor. His use of legato phrasing and fluid rise to high pitches is seamless, at the same time released in a physically demonstrative display of Cassio’s inebriation. (It was at this point in the ensemble that Struckmann’s voice began to suggest the strain from treatment for allergies which occasioned his withdrawal at the close of Act I.) Once Otello and Desdemona are awakened by the brawl between a drunken Cassio and incensed Montano, the seeming chaos is interrupted. Botha’s voice of authority cut through the choral pandemonium as he ordered “Abbasso le spade!” (“Lower your swords!”). His demotion of Cassio and reestablishment of order was sung as an extension of these commands with precise, idiomatic intonation. Once they are left alone Desdemona and Otello sing their celebrated love duet as a conclusion to Act I. For both Ms. Martínez and Mr. Botha the range between dramatic excitedness and tender intimacy is bridged naturally so that the tensions in this relationship develop logically in response to the surrounding events. When Botha declares “Vien Venere splende” (“Come Venus is shining”) as they return to their chamber, the projected tranquility for Otello covers a persona already shown to waver between extremes.
In Act II Mr. Thomas assumed the role of Iago. The substitution proceeded as seamlessly as could be hoped, since Thomas enhanced the villainous character with his further, bleak emphases. His rendition of Iago’s “Credo” was appropriately declamatory with an expected internalization of lines that tend toward self-reflection. After musing on this destructive resolve, Iago’s influence on Otello grows perceptibly. Thomas’s subtle repetition to Otello of the sentiment “Vigilate” (“Keep watch”), when speaking of Desdemona’s fidelity, began to function as a growing germ in the husband’s mind. At the entrance of Desdemona surrounded by her adoring followers Martínez sang a rising pure line on “Splende il cielo” (“the sky is bright”). Otello’s mood reacts to this optimistic depiction of nature until her first appeal is tendered on behalf of Cassio. In the following quartet, in which the couple is joined by the pair of Iago and his wife Emilia, Martínez’s voice surged with touching high pitches on “Dammi la dolce e lieta parola del perdon” (“Give me your sweet and happy word of pardon”). Emilia retrieves the handkerchief that Desdemona dropped, but she cannot withhold it from Iago and his plan. From this point forward the “Testimon” (“witness”), of which Thomas swears the possession so chillingly, will have palpable force. In their final duet Iago encourages Otello to exact vengeance at which juncture Botha released forte his most emotionally convincing top notes of the evening.
Johan Botha as Otello and Ana Maria Martinez as Desdemona
The dramatic tensions of Act III followed inevitably from the preparatory scheming and doubt. Topics of the misplaced handkerchief and pardon for Cassio are interwoven musically in the duet for the two principals. Once Otello curses Desdemona while scorning her fidelity Martínez expresses the wife’s reaction of hurt with a piercing high note on “le prime lagrime” (“the first tears”). Otello’s public image is stained when he later casts Desdemona to the ground in the presence of all at court, including Lodovico the ambassador from Venice. In this role bass Evan Boyer’s announcement of the Doge’s letter was intoned with a resonance which he transformed with surprise upon witnessing Otello’s behavior. When everyone but Otello and Iago has left the pubic court at the close of the act, Thomas’s Iago proclaims triumphantly “Ecco il Leone!” (“Behold the Lion!”) as he places his foot on the prostrate conqueror.
Desdemona’s murder in Act IV by her husband Otello is preceded by a scene in which she remains together with Emilia and confides to her by means of “La canzon del Salice” (“the Willow Song”). Martínez’s diction and carefully shaped phrases made this aria not only a touchingly sung and memorable showpiece, but also a lyrical extension of Desdemona’s character elaborating on her persona within the entire opera. In addition to ever-increasing rising pitches on “Salice,” Martínez infused “cantiamo” (“Let us sing”) with a repeated piano delicacy. Her final, heartfelt cry of farewell to Emilia indicated a resignation to what must inevitably befall her. Indeed, after making his entrance Botha’s mix of tenderness and violence as he first looked at Desdemona sleeping, and then confronted her in excited dialogue summarized in mere moments the dramatic conflict of this entire tragedy. Iago’s triumph is ultimately exposed as treachery, yet the lyrical declarations and outbursts of love survive beyond the violent end for Desdemona and Otello.