02 Mar 2014
LA Opera Presents a Parable of Good and Evil
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
His nemesis, Master-at-Arms John Claggart, played by the equally charismatic Greer Grimsley, hates him because of it. The director could have introduced a homoerotic element of hatred born of rejection, but she chose not to. Instead, the evil Claggart is a first cousin to Verdi and Shakespeare’s Iago.
Herman Melville’s works have become the basis for two modern operas, Benjamin Britten’s 1951 Billy Budd and Jake Heggie’s 2010 Moby Dick. When Melville died in 1891, he left the novella Billy Budd unfinished, so it was not published until 1924. His first biographer, Raymond Weaver, unearthed its manuscript when he read through Melville's papers. In 1951, a play made from the novella by Louis Coxe and Robert Chapman was a major success on Broadway. That same year saw the premiere of Benjamin Britten’s opera, which has a libretto by English novelist E. M. Forster who worked with frequent Britten collaborator, Eric Crozier.
Richard Croft as Captain Vere
The title role was intended for Geraint Evans, but he found its tessitura too high. At the opera’s monumentally successful premiere at Covent Garden on December 1, 1951, Theodore Uppman sang Budd and Evans sang Mr. Flint. The performance received seventeen curtain calls and rave reviews.
The current Los Angeles Opera production by Francesca Zambello was first seen at London’s Covent Garden on May 30, 1995. Los Angeles Opera originally mounted her austere, relatively traditional production in 2000 and brought it back on February 22, 2014, under the direction of Julia Pevzner. Alison Chitty’s set is a steeply raked, angular deck that can be raised to reveal a crew area below. Above the deck is a slanted mast with an arm that becomes reminiscent of a cross when Billy stretches his arms out on it.
Billy, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence. His nemesis, Master-at-Arms John Claggart, played by the equally charismatic Greer Grimsley, hates him because of it. The director could have introduced a homoerotic element of hatred born of rejection, but she chose not to. Instead, the evil Claggart is a first cousin to Verdi and Shakespeare’s Iago.
Caught in the middle of this drama is the ship’s captain, Vere, beautifully sung and movingly interpreted by Richard Croft. He is seen as an old man in both the prologue and the epilogue. He is still uneasy looking back on his role in Billy’s conviction and execution at sea for assaulting a superior officer. That is Britten’s way of expressing his discontent with the harsh laws of wartime. This production pulled the drama taut and propelled the action forward. Many singers created notable character portrayals in this performance. Greg Fedderly was a raucous Red Whiskers, James Creswell a wise Dansker, and Anthony Michaels-Moore an obsequious Redburn. Members of the Los Angeles Opera chorus sang with precise harmony while making the audience realize how many hundreds of men it took to man sailing ships.
Although the opera does not send the audience out humming its tunes, it is consummate music drama and the orchestra makes the audience feel Billy’s pain when he is betrayed. Britten’s sophisticated musical structure sets the listener up for the coup de grace, Billy’s inability to speak at the crucial moment and his resulting assault on Claggart. The composer has created an evocative phrase for each thing that happens in the opera and conductor James Conlon brought them all out with the brilliant colors and the stark clarity of the score. Conlon was the prime mover for bringing more Britten to Los Angeles and with this performance he demonstrated the powerful emotional appeal of that composer’s work.
Cast and production information:
Billy Budd, Liam Bonner; Captain Edward Vere, Richard Croft; John Claggart, Greer Grimsley; Mr. Redburn, Anthony Michaels-Moore; Mr. Flint, Daniel Sumegi; Lieutenant Ratcliffe, Patrick Blackwell; Red Whiskers, James Creswell; Bosun, Craig Colclough; Novice, Keith Jameson; First Mate, Paul LaRosa; Second Mate, Daniel Armstrong; Novice's Friend, Valentin Anikin; Maintop, Vladimir Dmitruk; Squeak, Matthew O'Neill; Cabin Boy, Rory Hemmings; Conductor, James Conlon; Production, Francesca Zambello; Director, Julia Pevzner; Set and Costume Design, Alison Chitty; Lighting, Alan Burrett; Chorus Master, Grant Gershon; Fight Director, Ed Douglas.