Recently in Performances
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw
Orchestra’s season with a slightly uneven performance of Mahler’s
Resurrection Symphony. With four planned, this staple repertoire for
the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took
place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful
production. With magnificent voices, Andreas Schager and Dorothea
Röschmann rescued Michael Thalheimer’s grotesque staging of von
Weber’s Der Freischütz. At Staatsoper Unter den Linden,
Alexander Soddy led a richly detailed, transparent and brilliantly glowing
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an
intriguing American double bill of rarities. An experience that was well worth
the trip to this desolate ghost town, remnant of industrial West Germany.
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.