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Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it
should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
06 Feb 2014
Pagliacci Opens San Diego Opera's 2014 Season
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
Director Andrew Sinclair brought out all the passion and violence of its verismo story and did not allow an intermission to dilute any of its dramatic punch.
Ruggero Leoncavallo (1857-1919) grew up in a small town in Calabria and he set his opera Pagliacci in just such a place. The composer’s father was a judge and he said he got the idea for the original story on which he based his opera from one of his father’s cases. That may or may not be true because French author Catulle Mendès thought the story of the opera closely resembled his 1874 play La Femme de Tabarin in which a clown murders his wife. Leoncavallo wanted to compose a verismo opera because he had already witnessed the popularity of Pietro Mascagni's Cavalleria rusticana in 1890.
Leoncavallo knew that story would make a good opera so he used it in writing his libretto. Then he set it to dramatic music. He had been trying unsuccessfully to get one of his operas staged for years. Pagliacci turned the tide. He was able to get it performed in 1892 at the Teatro Dal Verme in Milan where it was a triumph with audience and critics alike. Only its conductor, Arturo Toscanini, found it wanting. Mendès sued Leoncavallo for plagiarism, but dropped the suit when he was accused of copying some of his works. Toscanini’s comment was easily forgotten and Pagliacci was soon on its way to worldwide popularity.
Originally titled Il pagliaccio (The Clown), the creator of the role of Tonio, Victor Maurel, asked that the name be changed to Pagliacci (Clowns) because he thought it should include more of the cast. Tonio originally sang final line, “La commedia è finita,” until Enrico Caruso began to sing it as Canio.
Adina Nitescu as Nedda, Frank Poretta as Canio and Stephen Powell as Tonio
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone. Director Andrew Sinclair brought out all the passion and violence of its verismo story and did not allow an intermission to dilute any of its dramatic punch. Scenic director John Coyne set the action in a simple out-of-doors scene with a blooming tree signifying summer in the small Italian town. Baritone Stephen Powell sang the Prologue with stunning and powerful tones. As it turned out, it was the best-sung aria of the evening.
When the curtain rose, the townspeople and circus performers were clothed in Ed Kotanen's authentic early twentieth century costumes. Traveling circus company members were setting up the well-worn platform stage and numerous benches that they carried with them from town to town. After seeming to be a straightforward character when he sang the Prologue, Tonio skulked about the stage when interacting with the other performers. He was a misfit who probably could not get work elsewhere. As Canio, Frank Poretta, was a jovial character whose main purpose was to lure an audience to the troupe’s performances. He sang with a secure, fluid line. Nedda, Canio’s unhappy trophy wife, looked forward to her tryst with her younger lover, Silvio, as she sang her aria about the freedom of the birds overhead. Adina Nitescu is a dramatic soprano and her tones were stronger and darker than the ones expected from Nedda. When Tonio tried to kiss her, Nedda grabbed a whip and beat him until he limped off harboring thoughts of a grisly revenge.
Little by little Tonio infected Canio’s mind until he lapsed into insane jealousy. For Sinclair, this was Tonio’s story, and he made sure the audience saw that the ugly clown was pulling all the strings to make the murder happen. That’s why this time it was Tonio who ended the opera with “La commedia è finita.” Joel Sorensen was a worthy Beppe and David Adam Moore a handsome, vocally sensuous Silvio. Directed by chorus Master Charles F. Prestinari, the choristers sang with delicious harmonies as they portrayed rural townspeople. Yves Abel underscored Sinclair’s dramatic tone with his brisk interpretation of Leoncavallo’s music and his orchestra responded with dramatically alert playing. This was a short but emotionally stunning performance of a well loved verismo opera.
Cast and production information:
Tonio, Stephen Powell; Canio, Frank Poretta; Beppe, Joel Sorensen; Nedda, Adina Nitescu; Silvio, David Adam Moore; Conductor, Yves Abel; Director, Andrew Sinclair; Scenic Designer, John Coyne; Costume Designer, Ed Kotanen; Lighting Designer, Michael Whitfield; Chorus Master Charles F. Prestinari.