Recently in Performances
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
15 Apr 2014
Will Don Quichotte Be the Last Production at San Diego Opera?
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Is it not equally mad to let a great opera company like San Diego Opera die when it could live on with different leadership?
On Saturday night, April 5, 2014, San Diego Opera (SDO) presented what may be its last production, a revival of Jules Massenet’s Don Quichotte. On March 20, General Director Ian Campbell announced that the company would “shut down with dignity” on April 14. SDO is not out of money, but it can no longer afford the deluxe productions it has staged in the past. The move was a total surprise to the employees, but only one of the board members voted against the closing. At the Saturday evening performance of the Massenet opera, Campbell was booed unmercifully when he attempted to speak to the audience. Since his announcement of the closure, almost twenty-one thousand SDO fans have signed a petition to keep opera in San Diego. It can be found here. The Save the Opera Campaign can be found online here.
Don Quixote and Sancho Panza fight the giant windmills.
Don Quichotte (Don Quixote) is an opera in five acts that Jules Massenet composed to a French libretto by Henri Caïn. Although Massenet's comédie-héroïque relates to the great Spanish novel by Miguel de Cervantes, it is closer to Jacques Le Lorrain’s play Le Chevalier de la Longue Figure, which was first seen in Paris in 1904. The opera, written in 1909 for the Russian bass Feodor Chaliapin, was first performed early the following year at the Opéra de Monte Carlo. The composer may have also thought of himself as a Don Quixote, because at the age of sixty-seven, he was in love with his twenty-seven year old Dulcinea, Lucy Arbell.
Don Quichotte is a vehicle for a charismatic singer with a low voice. Italian bass Ferruccio Furlanetto is one of the truly great artists of our time and an opportunity to enjoy his interpretation of the character created by Cervantes is most welcome, even if the circumstances surrounding it are painful. In 2009, the opera was first staged in San Diego for Furlanetto. Both then and in 2014, his fully engaged character portrayal, his personal magnetism, and above all his glorious singing made the audience fall in love with the madly idealistic knight. San Diego has a large Spanish-speaking population and they were particularly in evidence for this French take on an author with whose work they are most familiar.
Keturah Stickann’s traditional production followed both Caïn’s libretto and Massenet’s music with great care, but added twenty-first century lighting and stagecraft. She told her story in a most creative manner and showed applicable quotations from the original Cervantes work in translation before each scene. The Windmill Scene was particularly memorable because the music seems to be turning the huge blades as they emerged from the fog. Conductor Karen Keltner, a specialist in French music, was at her best as she gave us a musically apt description of the mind of the ingenious gentleman from La Mancha. Missy West’s exquisite costumes and Kristina Cobarrubia’s colorful Flamenco dances added visual excitement to the production. The sets by Ralph Funicello combined with Marie Barrett’s lighting to show the bare bones landscape of rural Spain.
Flamenco Dancing in Don Quichotte
Eduardo Chama’s Sancho Panza was an amusing peasant who really cared for his master. Vocally, he seems to have lost some resonance since 2009, but his able portrayal of the character made up for it. Anke Vondung was a flirtatious but innately practical Dulcinea who sang with a chocolate cream voice. Hervé Blanquart was a frightening head bandit while Chad Frisque, Michael Blinco, Anthony Ballard, and Joseph Grienenberger were mean-looking thugs. Others in the cast who added much to the production as a whole were Joel Sorenson as Rodriguez, Simeon Esper as Juan, Michaëla Oeste as Pedro, and Susannah Biller as Garcias. Choral music is often important in French opera and this work is no different. Charles F. Prestinari’s group sang with precision as they floated their delicious harmonies out into the auditorium. It’s sad to think that they and their instrumental colleagues may have much less work after the end of this season.
Cast and production information:
Rodriguez, Joel Sorenson; Juan, Simeon Esper; Pedro, Michaëla Oeste; Garcias, Susannah Biller; Dulcinea, Anke Vondung; Don Quixote, Ferruccio Furlanetto; Sancho Panza, Eduardo Chama; Ténébrun Chief Bandit, Hervé Blanquart; Conductor, Karen Keltner; Director Keturah Stickann; Choreographer, Kristine Cobarrubia; Scenic design, Ralph Funicello; Costume design, Missy West; Lighting design, Marie Barrett; Chorus Master, Charles F. Prestinari; Supertitles, Ian Campbell.