Recently in Performances
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle
Opera was to encourage his board to formulate a “mission statement”
for the fifty-year old company. The document produced was clear, simple, and
anodyne. Seattle Opera would aim above all to create work appealing both to the
emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal,
Holten’s simple setting of Lohengrin felt timeless with its
focus on the drama between characters. Premiering in 2012, nothing too flashy
and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner
productions. This Fall, its productions of Philipp Stölzl's Parsifal and
Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it
comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
22 May 2014
LA Opera Presents Powerful Streetcar Named Desire
As Blanche, Renée Fleming sang her role with a sultry air. Her smooth, creamy tones revealed her character’s ultra-refined dream world as she told of having once been married to a gay man. The moment when Blanche met Stanley was electric. From that first second, the audience knew he hated everything she valued.
From 1920-1948 New Orleans Streetcars ran on a route called the Desire Line. In Tennessee Williams’s play, Blanche says, "They told me to take a streetcar named Desire, transfer to one called Cemeteries and ride six blocks and get off at Elysian Fields!" The ride brings her to the Kowalski home where the action in both the play and the opera take place.
In 1947, the premiere production of Tennessee Williams’s play A Streetcar Named Desire opened on Broadway to begin a two-year run. Directed by Elia Kazan, it starred Marlon Brando, Jessica Tandy, Kim Hunter, and Karl Malden. At the close of the first performance, the audience applauded for almost thirty minutes. The next year it won the Pulitzer Prize for Drama.
In 1949, Laurence Olivier directed the London production of Streetcar starring Vivien Leigh. The 1951 film adaptation of the play directed by Kazan featured Brando, Malden, and Hunter reprising their stage roles. Vivien Leigh replaced Jessica Tandy as Blanche. The movie won three Academy Awards for acting: Leigh for best actress, Malden for best supporting actor and Hunter for best supporting actress. Brando was nominated for best actor but lost.
Composer André Previn and librettist Philip Littell wrote the opera A Streetcar Named Desire in 1995, but it was not staged until 1998. Then, San Francisco Opera mounted it in a production by Colin Graham starring Renée Fleming as Blanche, Rod Gilfry as Stanley, Elizabeth Futral as Stella, and Anthony Dean Griffey as Mitch. On May 18, 2014, L A’s purple clad jacaranda trees bloomed as forcefully as magnolias bloom in the Deep South. The warm weather and colorful display put the California audience in the right mood for librettist Philip Littell and composer André Previn’s musical version of the Williams play. Brad Dalton directed L A Opera’s production, which featured effective costuming by Johann Stegmeir and atmospheric lighting by Duane Schuler.
Renée Fleming and Anthony Dean Griffey repeated their roles of Blanche and Mitch; Ryan McKinny was Stanley; Stacey Tappan, Stella; Victoria Livengood, Eunice; Joshua Guererro, Steve; and Cullen Gandy, the Young Collector. Making his debut at L A Opera, Evan Rogister conducted with a broad style that easily encompassed Previn’s allusions to various forms of music not often heard in opera. Previn gives us jazz, blues and even a touch of Richard Strauss.
Ryan McKinny as Stanley Kowalski yells “Stel-lah”.
Instead of placing the orchestra in the pit between the audience and the action, Stage Director Dalton put the Kowalski’s tenement apartment up front with the orchestra behind the singers. Although the locals are in work clothes, Blanche wears a party dress and a flower in her hair when she is not monopolizing the bath. Fleming sang her role with a sultry air. Her smooth, creamy tones revealed her character’s ultra-refined dream world as she told of having once been married to a gay man.
The moment when Blanche met Stanley was electric. From that first second, the audience knew he hated everything she valued. Ryan McKinny was an evil but believable Stanley who exuded strength and macho sexuality. Although he had no aria, he made a firm impact with his excellent diction. Stacey Tappan’s Stella was so totally attached to Stanley that his violent nature did not discourage her. She was a slave to his sexual instincts and sang her most affecting refrain about his lovemaking. The Los Angeles Opera audience had seen Tappan in smaller parts, but this was her first leading role. Expect to see her as many more important characters.
Anthony Dean Griffey reprised his role as Mitch, the “mama’s boy” who does not know how to talk to a young lady. His character’s gaucheries provided a bit of necessary levity for this dramatic piece and his resonant tenor sound rang out with burnished colors. As Eunice, Victoria Livengood was the last person to turn against Blanche. At the end, however, it was Eunice who gave the unwelcome guest to the doctor because she thought there was nothing else to do. At the final moment, Blanche stands next to the ghost of the dead husband who has haunted her all through the opera. This was a spellbinding performance of an important modern work that should appear on many more stages.
Cast and production information:
Blanche Dubois, Renée Fleming; Stanley Kowalski, Ryan McKinny; Stella Kowalski, Stacey Tappan; Harold "Mitch" Mitchell, Anthony Dean Griffey; Eunice Hubbell, Victoria Livengood; Steve Hubbell, Joshua Guerrero; A Young Collector, Cullen Gandy; A Doctor, Robert Shampain; A Nurse, Cynthia Marty.