Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Reviews

Porgy and Bess in the National Company of
22 Nov 2013

Porgy and Bess in San Francisco

It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”

Porgy and Bess in San Francisco

A review by Michael Milenski

Above: Alicia Hall Moran as Bess, Nathaniel Stampley as Porgy in the National Company of "The Gershwins' Porgy and Bess" [Photo by Michael J. Lutch]

 

Yet Porgy and Bess has survived through all this! Well, more or less, and even so it again proves itself an operatic masterpiece of the American century.

All the above titles and qualifiers played at New York’s Richard Rogers Theater for nine months in 2012 and began a national tour in San Francisco this November 10 at the Golden Gate Theatre (a barn of an old theater in San Francisco’s, uhm, colorful Tenderloin). It travels on to Los Angeles and to cities in Florida and Ohio.

This Porgy and Bess has new punch indeed. The draconian control over the opera by the Gershwin Estate evidently continues (note the registered trademark logos), here manifest in the Gershwin Estate’s choice of Broadway director Diane Paulus (Hair) to consider perspectives that heretofore have remained buried in its characters and therefore to renew the piece.

The musical adaptation by Diedre L. Murray (Running Man) is always in the Gershwin spirit if not to its letter. For starters Jake sang the second verse of Clara’s “Summertime.” It went from there to music you think you have never heard before. As well the recasting of the story by playwright Suzan-Lori Parks (Topdog/Underdog) may have made some of the old music seem like new music.

Moving from the pit of an opera house to the pit of a vaudeville theater necessitates much reduced orchestration — five woodwinds and six brass (both with an impressive array of instruments to be blown), nine strings, and a keyboard. The percussion battery, somehow manipulated by one player, includes just about anything you can think of to hit or ring.

Additional transformation from opera house to theater is the addition of sound reinforcement. Here Acme Sound Partners (Hair, A Chorus Line) keeps the sound at reasonable levels and the balance of voice to pit at someone’s idea of perfection. Though the wall of sound is quite flat the skilled players in the orchestra wail the great pieces we know so well, and with the percussion battery and digital sound technology create a hurricane that is positively awesome.

Porgy_SHNSF2.png The national cast of THE GERSHWINS' PORGY AND BESS. Photo by Michael J. Lutch

What makes this production of Porgy and Bess become a fine piece of theatrical art is the minimalism of its staging — only a raked stage platform, an abstract ramshackle back wall, a sky scrim for the picnic, a border to make an interior, a hanging lamp to swing in the storm. There are but twenty-two total inhabitants of Catfish Row, and two policemen. These minimal physical and human resources focused our responses onto the opera’s human tragedies through the joys and sorrows we could clearly perceive on each and every face and body on the stage.

The choreography, by Ronald K. Brown too was minimal, just enough to make it a “show” with a few snappy moves by the bodies that could, and even some surprising, acrobatic moves (the four fishermen being fish) by bodies you were sure could not — there were no skinny chorus boys and girls here.

Unlike the broader and deeper exploration of the human spirit that may occur on the opera stage the Broadway musical heads for always direct emotions. Suzan-Lori Parks has Bess deeply in love with Porgy. Clara hands her baby to Bess who becomes its surrogate mother. A dose of happy dust in a weak moment forces Mariah, the matriarch of Catfish Row to expel Bess, who, devastated, has no where to go but New York. Porgy then seems to be going somewhere too, transfixed by love.

It all works and it is all opera, meaning big stories, big emotions, big music, because of the splendid performances of Alicia Hall Moran as Bess, Nathaniel Stampley as Porgy and Alvin Crawford as Crown. Mlle. Moran plays a weak and strong Bess, warm and fun, above all honest. Bess is complex and of course since it is a musical she is very appealing. Mr. Stampley makes Porgy a simple, warm and open spirit, charismatic and quite handsome. Mr. Crawford is a towering, muscular force, dumb and selfish though he too is good underneath it all. All ably vocally negotiated their numbers, especially Mlle. Moran in an appropriately husky mezzo.

Opera audiences will surely savor the pleasures of this smart production, tightly conceived and very well directed. One can wish for such stagecraft on opera house stages where production values on the level of this Porgy and Bess are very rare, too rare indeed.

For comparison with an opera house production please see Porgy and Bess at San Francisco Opera.

Michael Milenski


Casts and production information:

Porgy: Nathaniel Stampley; Bess: Alicia Hall Moran; Clara: Sumayya Ali; Jake: David Hughey; Mariah: Danielle Lee Greaves; Sporting Life: Kingsley Leggs; Mingo: Kent Overshown; Serena: Denisha Ballew; Robbins: James Earl Jones II; Crown: Alvin Crawford; Detective: Dan Barnhill; Policeman: Fred Rose; Strawberry Woman: Sarita Rachelle Lilly; Honey Man; Chauncey Packer; Crab Man; Dwelvan David. Conductor: Dale Rieling. American Repertory Theater production. Book adaptation: Suzan-Lori Parks; Musical score adaptation: Diedre L. Murray; Stage Director: Diane Paulus; Choreography: Ronald K. Brown; Set Design: Riccardo Hernandez; Costume Design: ESosa; Lighting Design: Christopher Akerlind. Golden Gate Theater, San Francisco. November 20, 2013.


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):