Recently in Performances
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
Mozart and Da Ponte’s Cosi fan tutte provides little in the way of background or back story for the plot, thus allowing directors to set the piece in a variety settings.
Based on a play, Chrysomania (The Passion for Money), by
the Russian playwright Prince Alexander Shokhovskoy, Pushkin’s short story The Queen of Spades is, in the words of one literary critic, ‘a sardonic commentary on the human condition’.
07 Nov 2013
Madama Butterfly, Chicago
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
This exposure of the individual characters, their hopes
and conflicts, requires that the performers communicate musically in the midst
of shifting narrative turns and a gamut of anguished feelings. The original
production was directed by Michael Grandage with sets and costumes by
Christopher Oram; for Chicago the production is directed by Louisa Muller.
Cio-Cio-San / Butterfly and Lieutenant B.F. Pinkerton are sung by Amanda
Echalaz and James Valenti, both making house debuts. Butterfly’s attendant
Suzuki is performed by Maryann McCormick and the American Consul Sharpless by
Christopher Purves, the latter also appearing here for the first time. The
Lyric Opera Orchestra is led by Marco Armiliato, who makes his Chicago Lyric
conducting debut with these performances.
At the start of Act One the Japanese marriage broker Goro, sung by David
Cangelosi, and Pinkerton discuss business matters relating to the house which
the protagonist has rented for his current relationship with Cio-Cio-San. When
describing both the household members in the service of the bride, and guests
who will attend the ceremony with Pinkerton, Cangelosi’s Goro is masterfully
acted and sung with obsequious gestures and with a good sense of idiomatic
delivery. Mr. Valenti’s Pinkerton seems appropriately distracted when hearing
Goro’s recitation of domestic details. Valenti’s facial expression remained
unchanged during this scene and the following exchange with Sharpless who
enters in a breathless rush to witness on site Pinkerton’s plans. Valenti’s
lyrical spirit emerges when he sings “Dovunque al mondo’ (“Everywhere in
the world”) in his soliloquy to Sharpless on the wandering and risk-taking
Yankee sailor. It is surely this attempt to stay in character, seeking pleasure
until he settles someday with a proper “sposa americana,” that explains
Valenti’s grinning stage demeanor and understated vocal line. At times both
he and Purves’s Sharpless were unfortunately challenged in their vocal
projection by overly vigorous orchestral volume.
As Cio-Cio-San enters with her companions, the excitedness of the young
women is appreciated by their host. Despite her own demure behavior vis-à-vis
Pinkerton this Butterfly is skilled at giving orders to her retinue of serving
companions. Ms. Echalaz sings with secure pitch, at first investing her line
with a noticeable amount of vibrato as a means to expressing her mix
of ardor and nervous expectation. Once her character feels more comfortable in
this conjugal setting, to which she assigns blind faith, Echalaz varies the
expression of vocal color. She describes her few treasured possessions with a
nonchalant tone for the pot of rouge, yet her description of the “cosa
sacra” (“sacred possession”) — the knife of her father’s suicide —
is pronounced with pure, unwavering focus. Once the Bonze, uncle of Cio-Cio-San
and a Buddhist priest, enters and curses her resolve, the ultimate societal and
personal isolation of the young woman has begun. As the Bonze, David Govertsen
delivered an appropriately menacing and lyrically convincing impression, while
also competing with an unyielding orchestral force. The departure of
authorities and extended family leave the protagonists alone for perhaps their
most celebrated expressive music in Puccini’s score. Valenti and Echalaz sang
this duet touchingly from his rising vocal line on “Viene la sera” (“The
night approaches”) to Butterfly’s naïve pronouncements “Ah dolce notte!
quante stelle!” (“Oh, beautiful night! So many stars!”). At times during
this first and the following acts the voices seemed muffled as though the set,
constructed of graduated panels, were absorbing some of the performers’ vocal
Amanda Echalaz as Butterfly and James Valenti as Pinkerton
Act Two of Madama Butterfly begins as an extended duet for
Cio-Cio-San and Suzuki, the latter despairing over the failure of Pinkerton to
return within three years. Ms. McCormick’s Suzuki featured some of the most
expressive dramatic singing of this performance, as she released rich, dark
pitches in her warnings of their precarious financial household. In reply
Cio-Cio-San’s famous aria “Un bel di” (“One fine day”), assuring her
faith in Pinkerton’s return, was sung with careful attention to top notes
alternating with lines sung piano for their introspective emphasis.
Sharpless interrupts this intimate scene and tries repeatedly to communicate
the contents of Pinkerton’s letter. Purves’s Counsul showed the ideal mix
of anguish and frustration in both acting and singing as he tries to broach the
topic with Butterfly. Once the cannon-shot is sounded, Butterfly is again lost
in her world of determined faith: she and her child, with Suzuki joining in
support, scatter flower petals to signal their welcome of Pinkerton.
The “Humming Chorus” performed between Acts Two and Three was subtly
audible as the central structure of the stage revolved. In the final scenes
Echalaz’s descent into renunciation of her life and child was as complete as
her earlier trajectory of hope. Pinkerton’s brief appearance and aria,
“Addio, fiorito asil,” (“Farewell, flowery refuge”) was here sung by
Valenti with the ability to integrate this vocal piece into the dramatic flow.
His brief lyrical outburst simply added in this production to the tragedy as
Madam Butterfly proceeds to the decision that she realizes is now inevitable.
Click here for cast and production information.