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

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

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):