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
22 May 2014
LA Opera: The Monk vs. The Courtesan
As Athanaël, Placido Domingo created a realistic monk who was ostensibly tempted to disregard his vows. The audience knew that had the courtesan Thaïs lived longer, he would have thrown his immortal soul into the wind.
Composer Jules Massenet and librettist Louis Gallet constructed the opera Thaïs from the 1890 novel of the same name by Anatole France. France based his book on the life of St. Thaïs of Egypt, a fourth century convert to Christianity. Massenet’s comédie lyrique was first presented at the Opéra Garnier in Paris on March 16, 1894, starring the California-born soprano for whom he wrote the title role, Sibyl Sanderson. Sanderson, known for her physical beauty as well as for her vocal interpretations, appeared at a rehearsal wearing a scanty costume made of net. Members of the orchestra were enchanted, but the company insisted she revert to wearing more a conservative outfit that would not attract the police.
Nine years later, on October 17, 1903, Lina Cavalieri sang the Italian premiere of Thaïs at the Teatro Lirico Internazionale in Milan. In 1907, Mary Garden made her American debut at the first United States performance of the opera. Later interpreters of the role of Thaïs include: Anna Moffo, Beverly Sills, Leontyne Price, Renée Fleming, and Elizabeth Futral.
Thaïs is Massenet’s third most often performed work. It follows his Manon and Werther and has never been a constant in the operatic repertoire. One of the reasons for this may be that the hero is a baritone instead of a tenor. Also, the most famous piece from this opera is not an aria. It is the Méditation, a short work for violin and orchestra. On the other hand, the role of Thaïs has been a showpiece for sopranos like Cavalieri, Garden, and Moffo whose looks were as attractive as their singing.
On May 17, 2014, Los Angeles Opera presented a production of Thaïs by Nicola Raab that was originally seen in Scandinavia. The costumes and settings by Johan Engels were colorful and evocative of luxury for the first two acts, but they did not set a definite time nor did they define the Cenobite monks with the expected garb. Only Placido Domingo as Athanaël wore an outfit that resembled a monk’s habit. Act I showed the luxury of Alexandria in bold shades of red and gold. The small box set for Act II was exquisite, while Act III showed the desolation of a bleached-out desert. All of these scenes were bathed in Linus Fellbom’s mood-influenced lighting.
Nino Machaidze as Thais with Paul Groves as Nicias
Soprano Nino Machaidze was a lovely Thaïs who sang with a bit of vibrato in the first act. After that she came into her own, however, and created a memorable characterization of the fourth century saint who turned from a life of sinful pleasure to the asceticism of the convent. In the first and second acts, the role of Athanaël lies quite low so we did not hear any of Domingo’s golden toned top notes until late in the show. However, his acting was at its best when he angrily destroyed the courtesan’s favorite erotic statue. Most importantly, he created a realistic monk who was ostensibly tempted to disregard his vows. The audience knew that had Thaïs lived longer, he would have thrown his immortal soul into the wind.
Paul Groves was a hedonistic Nicias who looked every inch the noble and sang with bronzed resonance. As the Abbess, Milena Kitic sang with dulcet tones as she welcomed Thaïs into the company of sisters. Domingo-Colburn-SteinYoung Artist Program Member Valentin Anikin sang Palemon with deep toned lyricism while fellow members Hae Ji Chang as Crobyle and Cassandra Zoé Velasco as Myrtale enchanted the audience with their visual and vocal talents. As with many French operas, the chorus plays a part. Grant Gershon’s group sang with luscious harmonies. Concertmaster Roberto Cani played the Méditation with jewel-like tones. Conductor Patrick Fournillier brought all the wide branching strands of this performance together with a firm hand but he allowed the singers enough room to sculpt their characters with the music.
Cast and production information:
Thaïs, Nino Machaidze; Athanaël, Placido Domingo; Nicias, Paul Groves; Palemon, Valentin Anikin; Crobyle, Hae Ji Chang; Myrtale, Cassandra Zoé Velasco; Abbess Albine, Milena Kitic; Cenobite Monks: Omar Crook; Reid Bruton; Todd Strange; Gregory Geiger; John Kimberling; Servant, Kihun Moon; Conductor, Patrick Fournillier; Director, Nicola Raab; Design, Johan Engels; Lighting, Linus Fellbom; Concertmaster Roberto Cani; Chorus Master, Grant Gershon.