Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

OPERA TODAY ARCHIVES »

Performances

Frederica von Stade as Myrtle Bledsoe [Photo by Lynn Lane]
26 Apr 2014

A Coffin in Egypt: A Tour-de-Force for von Stade

Librettist Leonard Foglia based his elegant and literate text on the late Horton Foote’s play, A Coffin in Egypt, and the opera has the original play’s dramatic punch.

Ricky Ian Gordon’s New Opera: A Tour-de-Force for Von Stade

A review by Maria Nockin

Above: Frederica von Stade as Myrtle Bledsoe

Photos by Lynn Lane

 

Foglia who wrote the libretto and directed the opera, also directed the world premiere of the original play.

On April 23, 2014, The Wallis Annenberg Center for the Performing Arts gave the West Coast premiere of Ricky Ian Gordon’s new opera, A Coffin in Egypt. Known as The Wallis, the Beverly Hills complex opened in 2013. Thus, it was the perfect place for an even newer opera. Houston, Texas, audiences saw Gordon’s opera last March and Philadelphia audiences will see it in June. Librettist Leonard Foglia based his elegant and literate text on the late Horton Foote’s play of the same name and the opera has the original play’s dramatic punch. Foglia who wrote the libretto and directed the opera, had directed the world premiere of the original play.

Musically, this is a chamber opera that uses the smallest possible forces: one soloist, a quartet of Gospel Singers, and nine instrumentalists. In this case, the soloist was the world famous mezzo-soprano, Frederica von Stade, who came out of retirement to assume the juicy role that Gordon wrote for her. Myrtle Bledsoe was a rich Texas widow who lived in the tiny hamlet of Egypt, near Wharton, where Horton Foote grew up in the early years of the twentieth century. Wharton is on the east side of the Colorado River, about forty-five miles north of the Gulf of Mexico.

Coffin_in_Egypt_02.gifFrederica von Stade as Myrtle Bledsoe and Adam Noble as the Captain

In her ninth decade, Myrtle recounts her life with its many unfulfilled dreams. Although the title speaks of death and Myrtle is old, she is as lively as a firecracker in designer Riccardo Hernández’s bright rose-colored gown. Hernández’s scenery showed flowers on curved surfaces and Brian Nason’s imaginative lighting design added strong colors that enhanced various aspects of the story.

Actually, it is von Stade’s magnetic personality that makes this charming piece come alive. Myrtle recounts her life with her husband, Hunter, and her happiest years abroad with her daughters. She also tells of her husband’s mistresses and the murder with which he was never charged. She can speak freely now because Hunter and her daughters have all preceded her in death. She alone is left to tell the stories, but she knows she will soon join them, in her own coffin, destined to be buried in Egypt. Actors represent the characters of whom she sings. David Matranga was the womanizing Hunter Bledsoe and Adam Noble the handsome Captain Lawson. Carolyn Johnson was Elsie Bledsoe and Cecilia Duarte Jessie Lydell.

The opera is a tour-de-force for mezzo and von Stade’s performance on Wednesday evening is proof that she retired too soon. She was on stage for the full eighty minutes of the opera’s duration, singing almost constantly with well-focused tones. Her voice was always a bit light for a mezzo and on this occasion it had a clarion quality that blended with the woodwinds of conductor Kathleen Kelly’s chamber group. Gordon’s music was very translucent and Kelly’s players brought out his delightful harmonies.

Gordon’s most inventive addition was a Gospel Chorus singing music he composed in the manner of old time Spirituals. For this piece, that addition was sheer genius. Best of all, the singers: soprano Sheryl D. Clansy, alto Laura Elizabeth Patterson, tenor James M. Winslow, and bass Jawan C. M. Jenkins sang in glorious harmonies which formed a delightful contrast to Myrtle’s solo storytelling. Clansy, in particular, has a spectacular voice that should be heard by a wider audience.

Coffin_in_Egypt_03.gifCecilia Duarte as Jessie, Frederica von Stade as Myrtle, and the Gospel Singers

A Coffin in Egypt is a new piece that is quickly winning acceptance in the cities where it has been shown. It will be in Philadelphia in June and from there it should go on to the many theaters in cities large and small that need a well put together opera on a small scale.

Maria Nockin


Cast and production information:

Myrtle Bledsoe, Frederica von Stade; Hunter Bledsoe, David Matranga; Elsie/ Clerk, Carolyn Johnson; Jessie Lydell, Cecilia Duarte; Captain Lawson, Adam Noble; Gospel Chorus: Cheryl D. Clansy, Laura Elizabeth Patterson, James M. Winslow, Jawan C. M. Jenkins; Gospel Chorus Director, Bethany Self; Conductor, Kathleen Kelly; Stage Director, Leonard Foglia; Set and Costume Designer, Riccardo Hernández; Lighting Designer, Brian Nason.

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):