17 Nov 2013
The Barber of Seville in San Francisco
San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
San Francisco Opera wraps up its fall season of five operas with what it insists is a new production of Rossini’s comic masterpiece.
It is the staging of Spanish stage director Emilio Sagi (pronounced saw-he) that has many of the ideas he first explored at Madrid’s Teatro Real in a big production that then traveled to Los Angeles, both cities likely harbors for its witty and affectionate quoting of classic hispanic flamenco postures. This San Francisco Barber is a slimmed down, re-elaborated version of the original Sagi conception that will soon be shared with the Lithuanian National Opera.
There was much to like on opening night, notably the polished performances of Count Almaviva and his future countess, characters also known as Lindoro sung by Mexican tenor Janvier Camarena and Rosina sung by American mezzo-soprano Isabel Leonard.
Mr. Camarena provided the high points of the evening, accompanying himself on the guitar for the serenade with virtuoso plucking technique, acting the music teacher with the skill of a sure comedian. To top it off he gave us the rare “Cessa di più risistere” later known and now better known as “Non piu mesta” from La cenerentola in a dazzling display of fioratura and high notes that brought the house down.
Mlle. Leonard, if not of pure hispanic origin (her mother was Argentine) even so matched Mr. Camarena’s latin excitement and brilliant singing with a presence that exuded refined fun and projected mature vocal and histrionic confidence — a poised Rosina who knew what she wanted and how to get it. Once a student at the Joffrey Ballet School she was well prepared to snap out flamenco poses that easily outclassed those of the official ballerinas.
There were moments of fine, idiomatic conducting. Italian conductor Giuseppe Finzi effectively captured the ephemeral Rossini ethos from time to time (the joy and blatant fun of singing difficult, florid music with aplomb), particularly in his support of the arias of these two singers. As well the maestro often caught the transparent rhythms of the big ensembles where three to six complex and sometimes more vocal lines compete with complete musical ease, conviction and wit.
The set, designed by Spaniard Llorenç Corbella, is quite different from the Madrid production. Here it is essentially a narrow, diagonally raked platform thrusting upstage, with an adjacent abstract black area (no scenery) accessible to various contraptions on wheels and lots of choristers. At best the set worked well, the rake providing a dynamic line on which the principals moved up and down, on and off, the black area serving as a space to stage business that elaborates the various musical numbers.
Besides the witty gloss of the flamenco poses, the Sagi production was embellished with lots of spoke wheel vehicles (bicycle like) that gave a sense of lightness and fleetness to the staging that flouted period (century or decade). The costumes as well were embellished with witty abstractions of Sevillian decorations that had little to do with period and everything to do taking costumes onto an abstract musical level.
Various human bodies and objects crawled out from under the raked platform and props flew down from above from time to time to further negate any sense of real time or real space. Barber’s various numbers were arbitrarily placed on the ramp or in the black space and finally everything more or less disappeared anyway to reveal a night sky filled with fireworks (projected). In short director Sagi and his designer Corbella concocted a heady framework for the music of Rossini’s masterpiece. It would have been truly brilliant had it gotten off the ground.
Lucas Meachem as Figaro, Janvier Camarena as Almaviva, Alessandro Corbelli as Bartolo, Andrea Silvestrelli as Basilio, Catherine Cook as Berta, Isabel Leonard as Rosina [Photo by Cory Weaver]
Unfortunately stage director Sagi was more interested in exploring these interesting theatrical ideas than in staging his singers. This lack of a unified and focused dramatic intelligence resulted in the feeling that Rossini’s headstrong characters were arbitrarily walking through the classic comedic process rather than bringing it to life.
A plodding succession of the events of the story we know so well resulted. This sense was exacerbated in the pit. While conductor Finzi did have his truly splendid moments, and there many of them he could not impose a larger musical unity over an act or the evening, evidenced by the overture that ignited no excitement whatsoever. There was a sense of relief when nine dancers appeared to maybe add some life with a bit of abstracted flamenco movement. Alas the choreography was clumsy and meaningless, later met with feelings of dread whenever the dancing became lengthy.
A.J. Glueckert as Ambrogio, Catherine Cook as Berta [Photo by Cory Weaver]
Catherine Cook was the Berta who was as lightheaded as Rosina was weighty minded. She made her aria another of the evening’s high points with the help of her adoring Ambrogio, Adler Fellow A.J. Glueckert who shined as a silent, physical performance artist given he has hardly anything to sing. Bass baritone Hadleigh Adams brought snap and flair to the brief role of the Officer, not allowing his few moments on stage to go unnoticed.
Andrea Silvestrelli brought the considerable panache he provides Rigoletto’s Sparafucile to the role of Basilio. This major role stood out as miscast, and as a vocal misfit into Rossini’s vocal and musical textures. Much the same can be said of the Figaro of Lucas Meachem who confused bellowing with singing and strutting with acting. Italian bass baritone Alessandro Corbelli is a small scale if accomplished Bartolo who here disappeared into the melée rather than making himself the cause of it all.
Of the many, many Barbiere productions encountered over the years, this one stacks up among the best. Its glaring flaws could have easily been overcome with more careful casting, conducting, lighting and directing.
Cast and production information:
Figaro: Lucas Meachem; Rosina: Isabel Leonard; Count Almaviva: Javier Camarena; Doctor Bartolo: Alessandro Corbelli; Don Basilio: Andrea Silvestrelli; Berta: Catherine Cook; Ambrogio: A.J. Glueckert; Fiorello: Ao Li; An Officer: Hadleigh Adams; Notary: Andrew Truett. San Francisco Opera Chorus and Orchestra. Conductor: Giuseppe Finzi. Stage director: Emilio Sagi; Set Designer: Llorenc Corbella; Costume Designer: Pepa Ojanguren; Lighting Designer: Gary Marder; Choreographer: Nuria Castejón. San Francisco War Memorial Opera House. November 13, 2013.