Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera

Theodora, Théâtre des Champs-Élysées

Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.

Bostridge Sings Handel

1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.



Scene from Porgy and Bess [Photo courtesy of Doug Wonders]
10 Apr 2014

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

Syracuse Opera’s Porgy and Bess Got Plenty O’ Plenty

A review by David Abrams

Above: Scene from Porgy and Bess

Photos courtesy of Doug Wonders


Syracuse Opera returned to the grandeur of the 2,117-seat Crouse Hinds Theater Sunday for its 2013-14 season-closing production of an adaptation of Gershwin’s theatrical masterpiece, Porgy and Bess. (The company’s two earlier chamber-sized productions, The Tragedy of Carmen and Maria de Buenos Aires, were housed at the more intimate Carrier Theater.)

Proponents of The Gershwins’ Porgy and Bess champion the truncated version as a vehicle better suited to live theater, which may be true — although purists are likely to disagree. But judging from the over-the-top ovation by the near-capacity crowd at curtain call, I’d say this version appears to be perfectly sufficient. Moreover, Sunday’s performance was, by any measure, an artistic success.

Syracuse Opera had been publicizing this one-time only event (there was no repeat performance) as a “semi-staged” production. Come curtain time, however, the audience discovered that it ain’t necessarily so. This performance had the look and feel of a full-blown staged production, complete with costumes and stage action. If it didn’t capture the substance of Catfish Row, at least it captured its essence — and soul. Except for the placement of the orchestra at the back half of the stage (instead of in the pit) and a static set that did not change, this was a complete operatic experience. And a handsome one, at that.


One reason for the success of this production was Syracuse Opera’s decision to engage Hope Clarke, the first African-American to direct and choreograph Porgy and Bess both here and abroad. Clarke’s directorial touches included enlisting the 44-member Syracuse Opera Chorus as active participants in the musical numbers. The chorus, well prepared under the direction of Chorus Master Joseph Downing, swayed, danced and waived their arms high into the air during numbers such as Oh, I can’t sit down — at times resembling a revivalist church gathering. Clarke’s ensemble spirituals and laments were handsomely composed on the stage, and her poignant staging of Robbins’s wake was truly touching.

Another reason for the company’s success was the direction of the singers and instrumentalists by Douglas Kinney Frost. Conducting the orchestra with his back to the singers, Frost — aided by display screens strategically placed at various parts of the stage — managed to juggle competing forces with no major mishaps. (It customarily takes a performance or two to work out the kinks.) Frost had just one shot to get it right — and he did.

Perhaps the single greatest reason for the production’s success was the quality of the acting and singing. Ironically, it was the supporting roles that impressed me the most — particularly Michael Redding (Crown), Aundi Marie Moore (Serena), Brittany Walker (Clara) and Jorell Williams (Jake). The performances by the principals were strong, but uneven.

Laquita Mitchell is no stranger to the role of Bess, having sung (with Eric Owens as Porgy) in the 2009 Francesca Zambello production at San Francisco Opera. Mitchell looked the part from the moment she took stage — drugged out and slinking across the floor much like the way Maria describes her: a “liquor guzzlin’ slut.”

Mitchell was in excellent voice throughout the afternoon, using her darkly tinged soprano to great effect in What you want wid Bess, sung while trying to get out of the clutches of the abusive Crown. Mitchell’s acting, however, was less persuasive. She could not project her character’s agonizing ambivalence in choosing between the man who accepts and loves her and Sportin’ Life’s happy dust.


As the proud cripple, Porgy, Gordon Hawkins sang with a hefty baritone that easily projected throughout the large hall. Like Mitchell, Hawkins had performed the role in a Zambello production (Chicago Lyric Opera, 2008). He forged a commanding stage presence from his very first entrance and his acting skills were thoroughly convincing. But Hawkins’s vibrato Sunday was uncomfortably wide — especially when singing in full voice or at the top of his range. This in turn muddied his words and rendered his diction virtually unintelligible, as was evident in his third act lament, Bess, o where's my Bess.

Victor Ryan Robertson fashioned a suitably flamboyant Sportin’ Life, Catfish Row’s friendly neighborhood drug pusher who presses Bess to come with him to Harlem and live the high life. Looking especially unctuous in Costume Designer Jodi Luce’s colorful three-piece brown suit (with ample pockets to hold his stash of happy dust), Robertson tickled the crowd with his cunningly innocent revision of Biblical history in It Ain’t Necessarily So. Robertson’s pleasant tenor, though not strong, was always enjoyable. He was the only singer whose diction remained crystal clear throughout the performance.

Baritone Michael Redding as the villainous Crown gave a standout performance in this production. The Atlanta native used his entire body to craft a believable character who was both fearless and frightening. (His menacingly diabolical laugh alone was enough to terrorize the God-fearing denizens of Catfish Row — and the listener.) Redding’s voice is strong, richly hued and attractive to the ear — as was clear from his cocky number, A red-headed woman and his duet with Mitchell at the conclusion of What you want wid Bess (which for me was the highpoint of this production). At curtain call, Redding seemed surprised when the resounding applause at his entrance soon turned to boos (the ultimate compliment for a villainous role such as Crown).

Soprano Aundi Marie Moore delivered a strong and commanding vocal effort as Serena. This is a role Moore knows well, having sung the part at the Virginia Opera and Atlanta Opera, and it showed. Her superb delivery of the lament My man’s gone now — sung with great depth of feeling at the wake of her character’s husband, Robbins (killed at the hands of Crown during a craps game) — engaged the listener in a true “lump-in-the-throat” moment.

Among the minor roles, Brittany Walker’s Clara delivered the spiritual Summertime in a clean lyric soprano darkened with some pronounced mezzo timbres, although she tended to end her phrases somewhat abruptly. As the fisherman, Jake, Jorell Williams sang with a strongly defined baritone in the rowing song It take a long pull to get there. Larry D Hylton, who did double-duty as Serena’s husband Robbins and the Crabman, hammed it up to perfection in the comedic “Vendors Trio.”

As a conductor, Frost found tempos that were mostly on the mark and well-suited to the abilities of the singers. The effervescent Overture bubbled with joy, and the opera’s signature duet Bess, You Is My Woman came off splendidly. I was disappointed, however, with his lethargic tempo in the otherwise snappy There's a boat dat's leavin' soon for New York, which all but drained the pizazz out of Sportin’ Life’s splashiest number.

The instrumentalists from Symphoria navigated Gershwin’s demanding musical score with precision and maintained an excellent balance with the singers and chorus at all times. The pernicious xylophone solo at the beginning of the Overture (and several places later on) was played in dazzling fashion by percussionist Ernest Muzquiz.

Those listeners who entered the theater wondering why an opera in English required projected supertitles soon got their answer. In DuBose Heyward’s novel, Porgy, from which the libretto is taken, the characters in Catfish Row speak the Gullah dialect (English, with Western and Central Africa inflections) common in South Carolina and other parts of the South. It’s difficult to follow this dialogue intelligibly without the supertitles, especially when diction is muffled as was the case here.

I’ve long wondered why a work with such a parade of catchy tunes and colorfully orchestrated accompaniments would not have been a hit during the composer’s lifetime. It wasn’t until 1976 that the full-score version of Porgy and Bess was mounted (by Houston Grand Opera Company), and the work never made it to the Metropolitan Opera stage until 1985 — some 50 years after the opera’s premiere (on Broadway).

I attended the uncut Houston Grand Opera version on Broadway in 1976, and I can tell you that next to Le Nozze di Figaro, it was the best four hours of musical theater I can remember. But I don’t mind admitting that I enjoyed this shortened version of Porgy. Regardless of the size of the hourglass, Gershwin’s tunes still reach the ears from top to bottom.

David Abrams
CNY Café Momus

[This review first appeared at CNY Café Momus. It is reprinted with the permission of the author.]

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):