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 Reviews

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Color and Drama in Two Choral Requiems from Post-Napoleonic France

The Requiem text has brought out the best in many composers. Requiem settings by Mozart, Verdi, and Fauré are among the most beloved works among singers and listeners alike, and there are equally wondrous settings by Berlioz and Duruflé, as well as composers from before 1750, notably Jean Gilles.

Der Rosenkavalier: Welsh National Opera in Cardiff

Olivia Fuchs' new production of Richard Strauss's Der Rosenkavalier is a co-production between Welsh National Opera and Theater Magdeburg. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since 1990 (when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie).

Don Giovanni takes to the waves at Investec Opera Holland Park

There’s no reason why Oliver Platt’s imaginative ‘concept’ for this new production of Don Giovanni at Investec Opera Holland Park shouldn’t work very well. Designer Neil Irish has reconstructed a deck of RMS Queen Mary - the Cunard-White Star Line’s flag-ship cruiser during the 1930s, that golden age of trans-Atlantic cruising. Spanning the entire width of the OHP stage, the deck is lined with port-holed cabin doors - perfect hideaways for one of the Don’s hasty romantic dalliances.

"Recreated" Figaro at Garsington delights

After the preceding evening’s presentation of Annilese Miskimmon’s sparkling production of Handel’s Semele - an account of marital infidelity in immortal realms - the second opera of Garsington Opera’s 2017 season brought us down to earth for more mundane disloyalties and deceptions amongst the moneyed aristocracy of the eighteenth-century, as presented by John Cox in his 2005 production of Mozart’s Le nozze di Figaro.

Semele: star-dust and sparkle at Garsington Opera

To open the 2017 season at Garsington Opera, director Annilese Miskimmon and designer Nicky Shaw offer a visually beautifully new production of Handel's Semele in which comic ribaldry and celestial feuding converge and are transfigured into star-dust.

La rondine at Investec Opera Holland Park

Opera Holland Park's 2017 season opened on 1 June 2017 with Martin Lloyd-Evans's new production of Puccini's La Rondine, designed by takis, with lighting by Mark Howland and choreography by Steve Elias. Elizabeth Llewellyn was Magda with Matteo Lippi as Ruggero, Tereza Gevorgyan as Lisette, Stephen Aviss as Prunier and David Stephenson as Rambaldo, Matthew Kofi Waldren conducted the City of London Sinfonia.

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):