Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

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.

Winterreise : a parallel journey

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.

Anna Bolena in Lisbon

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.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

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.

A riveting Nixon in China at the Concertgebouw

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.

English song: shadows and reflections

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.

A charming Pirates of Penzance revival at ENO

'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.

A Relevant Madama Butterfly

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.

Johan Reuter sings Brahms with Wiener Philharmoniker

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.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

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.

Verdi’s Requiem with the Berliner Philharmoniker

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.

Jeanne d'Arc au bûcher in Lyon

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.

A New Look at Mozart’s Abduction from the Seraglio

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.

Giasone in Geneva

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.

OPERA TODAY ARCHIVES »

Performances

Susannah Glanville as Minnie and Jeff Gwaltney as Dick Johnson [Photo by Fritz Curzon]
06 Jun 2014

Giacomo Puccini: La fanciulla del West

‘I like the atmosphere of the West’, Puccini wrote after seeing three of David Belasco’s plays performed on Broadway in 1907, ‘but in all the “pièces” I have seen, I have found only a few scenes here and there.

Giacomo Puccini: La fanciulla del West

A review by Mark Berry

Above: Susannah Glanville as Minnie and Jeff Gwaltney as Dick Johnson

Photos by Fritz Curzon

 

Never a simple thread, all muddle, and, at times, bad taste and old hat.’ It was nevertheless there and then that the first dramatic seeds were sown for La fanciulla del West were sown; it would be written to a libretto after Belasco, dedicated to Queen Alexandra (!), and premiered in New York in 1910. Even after considerable compression, modification, and so forth, I am not convinced the work is a resounding triumph, though many Puccini lovers esteem it highly indeed. It is certainly full of musical interest: the Wagnerisms of old are perhaps not so prominent, though the love scene in the second act surely takes partly after Tristan , but the influence of Debussy in particular is fruitful indeed. Whole tone scales pervade the score, and there is more than the occasional nod to Pelléas. The story itself, the characters included, remains more of a problem. They are not the easiest people to care about, and without that, Puccini’s trademark emotional manipulations cannot do their work. He may have wished the opera to be a ‘second Bohème, only stronger, bolder, and more spacious,’ but that ambition would only fitfully be fulfilled. The sentimentality of the ‘redemptive’ ending is, alas, only too readily resisted.

Or so it seemed here, despite an excellent orchestral performance from the City of London Sinfonia under Stuart Stratford. The number of occasions when one really felt the lack of a larger orchestra was surprisingly small, the strings proving more luscious than one would have had any right to expect, the woodwind piquant and alluring, and the brass offering dramatical fatalism aplenty. Stratford’s direction seemed to me splendidly judged, those Debussyan resonances both readily apparent and seamless incorporated into the score. There is little that can be done about a rather annoying theme - friends tell me that it has been ‘borrowed’ by a composer of musical theatre, though it stands out like a sore thumb even before one is aware of that - but the score was certainly given its due. Stratford’s - and his cast’s - crewing up of musical tension during the second-act wager was beyond reproach.

photo-5.gif Susannah Glanville as Minnie and Simon Thorpe as Jack Rance

Susannah Glanville shone as Minnie; I had not encountered her before, but was mightily impressed by her vocal reserves and the dramatic use to which they were bit. This was a performance that would have graced many a ‘major’ stage, not that the ever-enterprising Opera Holland Park has any reason to fear such lazy comparisons. Jeff Gwaltney sometimes struggled to make himself heard - in particular, his words - but offered a sensitive portrayal of Dick Johnson. Simon Thorpe presented the conflicting emotions of Jack Rance with considerable skill, permitting one initially to sympathise, then to be repelled. A strong supporting cast included a highly impressive performance by Nicholas Garrett as Sonora. Choral singing was likewise greatly to be admired.

The problem, then, lay with Stephen Barlow’s production. This, at least it seems to me, is a vulnerable work, and the updating to a 1950s Nevada atomic testing ground makes little sense. A number of those who know the opera far better than I do say that it is a work that resists relocation in any sense. I am not so sure; I can imagine, for instance, a metatheatrical treatment in Hollywood, which played upon musical themes as well as the more obvious metaphor of gold-digging. The name ‘Camp Desert Rock’ seemed to promise something that remained un-delivered, but perhaps that should come as a relief. Barlow’s concept, however ably assisted by Yannis Thavoris’s designs, seems not to involve any real re-thinking; re-location jars and perplexes, rather than reinvigorates. Puccini’s ‘never a simple thread, all muddle, and, at times, bad taste and old hat’? That would be too harsh, but work and musical performance alike are done no favours by pointless, eye- but hardly ear-catching interpolations, of Minnie’s final act arrival upon a motorcycle and the lovers’ subsequent airline departure. It was difficult to resist the conclusion that the opera would have been better off left in Gold Rush California.

Mark Berry


Cast and production information:

Minnie: Susannah Glanville; Dick Johnson: Jeff Gwaltney; Jack Rance: Simon Thorpe; Nick: Neal Cooper; Sonora: Nicholas Garrett; Trin: Jung Soo Yun; Sid: Peter Braithwaite; Bello: James Harrison; Harry: Oliver Brignall; Joe: Edward Hughes; Happy: John Lofthouse; Jim Larkens: Aidan Smith; Ashby: Graeme Broadbent; Wowkle: Laura Woods; Billy Jackrabbit: Tom Stoddart; Jake Wallace: Simon Wilding; Jose Castro: Henry Grant Kerswell; Pony Express Rider: Michael Bradley. Director: Stephen Barlow; Designs: Yannis Thavoris; Lighting: Richard Howell. Opera Holland Park Chorus (chorus master: Timothy Burke)/ City of London Sinfonia/Stuart Stratford (conductor). Holland Park. Tuesday 3 June 2014.

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):