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 Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

Albina Shagimuratova as Lucia in Mad Scene [Photo by Robert Millard]
19 Mar 2014

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.

Lucia in LA: A Performance to Remember

A review by Maria Nockin

Above: Albina Shagimuratova as Lucia in Mad Scene

Photos by Robert Millard

 

In 1835 Gaetano Donizetti composed his drama tragico Lucia di Lammermoor to a libretto by Salvadore Cammarano. He based upon Sir Walter Scott's 1819 historical novel The Bride of Lammermoor. Scott based his plot on a seventeenth century incident that took place between Janet Dalrymple and her lover, Archibald, the third Lord Rutherfurd. The Dalrymple family, who lived in in the Lammermuir Hills of south-east Scotland, objected to the match because Rutherfurd was poor and supported King Charles II. The Dalrymples, who were staunch Whigs, preferred a constitutional monarchy to absolute rule.

An impassive Janet married her family’s choice, Sir David Dunbar of Baldoon Castle, on August 24, 1669. Not long after the couple retired, screaming was heard from their room. When the family forced the door open, they found David bleeding from stab wounds. Janet was trying to hide in a corner and she had blood on her nightgown. We only know that she appeared to be insane and died two weeks later. Scott had once been in love with a lady who jilted him for a richer man, so his novel may have reflected a personal emotional response.

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. An 1882 Swedish law granted women the right to choose their own marriage partners. Women in Scotland could have known what rights might soon be theirs.

LdLed's enter2123.pngEdgardo, Saimir Pirgu, finds that Lucia, Albina Shagimuratova, is marrying Arturo, Vladimir Dmitruk

Carolina Angulo’s scenery for Pulitzer’s production was totally unembellished except for a few neon strips, and it became a background for Duane Schuler’s lighting and Wendall K. Harrington’s fascinating projections that realized much of what was being sung in the libretto. Christine Crook’s stylized costumes were equally lacking in detail, but they served to set the time of the action in the past.

Soprano Albina Shagimuratova portrayed a troubled Lucia who had hallucinations from the beginning. An accomplished virtuoso, she created a real character and sang the coloratura trills and cadenzas of the Mad Scene with freshness and verve. Commanding the stage as her passionate lover Edgardo, tenor Saimir Pirgu sang with great beauty of tone and a variety of sound colors. He was already a fine tenor when he first came to LA to sing Rinuccio in the company’s 2008 Gianni Schicchi, but he has since become one of the world’s most important interpreters of lyric tenor roles. Even with the inclusion of an extra scene in this production, he sounded as fresh at the end of the opera as he did when it began.

Baritone Stephen Powell who impressed the San Diego audience in Pagliacci, was thoroughly confrontational as Lucia’s bully of a brother, Enrico. His evenly focused stentorian tones let you know that he would have his way, no matter what the consequences. As the Calvinist preacher, Raimondo, James Cresswell was the sanest of the principal characters, but his version of religion was no help to the heroine. Vocally, his range was even from top to bottom as he sang Donizetti’s difficult music.

I hope this cast will record the opera. This sextet, in particular, with six equally strong wonderful voices, deserves to have a wider hearing. Vladimir Dmitruk, the Arturo, will probably make a good career in the future and D’Ana Lombard, the Alisa, may go on to more important roles. Joshua Guerrero, who had already been spotted as a new talent when he sang in last year’s Evening of Zarzuela and Latin American Music, was a committed Normanno.

LdLPOW SHAG 2083.pngEnrico, Stephen Powell, and Lucia, Albina Shagimuratova

This was a complete rendition of the opera that opened up the usual cuts. The inclusion of the Wolf’s Crag Scene brought some music to the stage that many operagoers might never have heard sung live before. It also added to the audience’s knowledge of Edgardo’s character. Although the movements of members of Grant Gershon’s chorus were stylized, they added greatly to dramatic tension of each of the scenes in which they appeared with their strong, well-harmonized singing.

James Conlon brought us not only the complete Lucia, he performed it for us the way Donizetti originally conceived it. That included Thomas Bloch’s exquisite playing of the glass harmonica as the accompaniment to Lucia’s madness. The instrument is composed of numerous blown crystal glass bowls fitted into one another but not touching. They are held in place by a horizontal rod. The diameter of each bowl determines its note and a pedal controls the rotation of all so that the player can rub their edges with wet fingers as the bowls turn.

Maestro Conlon gave his audience dramatic climaxes as well as long lyrical lines while supporting the singers by keeping the decibel level low enough for them to be heard with ease. This was an extraordinary rendition of this well known opera that many in the audience will remember for years to come.

Maria Nockin


Cast and production information:

Normanno, Joshua Guerrero; Enrico, Stephen Powell; Raimondo, James Creswell; Lucia, Albina Shagimuratova; Alisa, D’Ana Lombard; Edgardo, Saimir Pirgu; Arturo, Vladimir Dmitruk; Conductor, James Conlon; Director Elkhanah Pulitzer; Projection and Scenic Designer, Wendall K. Harrington; Scenery Designer, Carolina Angulo; Costume Designer, Christine Crook; Lighting Designer, Duane Schuler; Chorus Master, Grant Gershon; Movement, Kitty McNamee.

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):