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

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

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.

OPERA TODAY ARCHIVES »

Performances

Rising Stars in Concert [Photo courtesy of Lyric Opera of Chicago]
11 Jun 2014

Rising Stars at Lyric Opera of Chicago

In its annual concert devoted to performances by current members of the Patrick G. and Shirley W. Ryan Opera Center, Lyric Opera of Chicago showcased a roster of talented singers who will doubtless add greatly to operatic and concert stages of the immediate future.

Rising Stars at Lyric Opera of Chicago

A review by Salvatore Calomino

Above: Rising Stars in Concert [Photo courtesy of Lyric Opera of Chicago]

 

All of the singers performed their chosen pieces and ensembles admirably, indeed each selection as sung was memorable for the degree of lyrical and dramatic commitment transmitted. As a supplement to the vocal offerings Maureen Zoltek, the Ryan Opera Center’s new pianist, played the first movement of Ravel’s Piano Concerto in G major. The conductor for the entire program was Kelly Kuo.

The first half of the program spanned operatic selections, in four languages, ranging from the eighteenth through the twentieth century. The second half of the evening was dominated by American and French selections after the performance of the movement from the Ravel Concerto. Perhaps most revealing from this program was the opportunity to hear each of the talented singers in a variety of repertoire, with performances that emphasized an encouraging versatility. As an example of such range, Tracy Cantin sang, in the first part of the concert, Cressida’s recitative and aria, “How can I sleep? … At the haunted end of the day,” from Sir William Walton’s Troilus and Cressida. Ms. Cantin’s involvement in this brief evocation of the title character was riveting. Her searing top notes emphasizing “betrayed” and “a phantom” led to the dramatic concluding declaration of “my conqueror.” In the second part of the program Cantin was equally impressive in a very different role, the concluding scene of Jules Massenet’s Thaïs. Here as she was supported by the Athanaël of baritone Anthony Clark Evans the vision of Thaïs came alive and her transformation from courtesan to saint was believable. Cantin produced soft, pure pitches in contrast to the appropriately urgent, sincere appeals by Evans. The final “Je vois Dieu” [“I see God”] communicated the apotheosis of a blessed figure. A comparable set of performances was offered by bass-baritone Richard Ollarsaba. In his rendering of Figaro’s Act IV aria, “Tutto è disposto … Aprite un po quegl’occhi” [“All is prepared … open your eyes a little”], Ollarsaba demonstrated excellent sense of color and the ability to use his resonant sound as a means to suggesting varying emotional states. Even within the single word “Ingrata” the expressive range that Ollarsaba attached to individual vowels communicated both distress felt by the character portrayed and a growing sense of irritation. Ollarsaba’s later contribution was also by Mozart, this time in the trio ensemble, “Soave sia il vento,” from Act I of Così fan tutte, sung together with soprano Laura Wilde and mezzo soprano Julie Anne Miller. Each of the three performers retained a distinct vocal personality while also blending effectively at requisite moments. As Don Alfonso, Ollarsaba’s upper register and fluid legato connecting multiple pitches outlined an impressive backdrop for the myriad emotions expressed, just as the women’s voices rose and fell in touching pathos. In their solo pieces during the concert both Miller and Wilde also gave exciting performances. Ms. Miller showed a masterful sense of Handelian style in the aria of the title character, “Dopo notte,” [“After night”] from Act III of Ariodante. While communicating the sense of the text, Miller took the word “splende” [“radiantly”] with appropriate forte emphasis. Especially noteworthy are Miller’s breath control and Italian diction, both serving her well in the embellishments she used in the repeat of the A section of the aria. In the second part of the program Ms. Wilde sang Marguerite’s aria, “Oh Dieu! Que de bijoux!,” [“O God! What jewels!”] from Gounod’s Faust; she held a mirror in hand and acted through her character’s delight with the jewel box as she sang this famous showpiece aria. In decorating the line of this piece Wilde was careful in observing textual import, so that her decorations on the “princesse,” whom she fantasized at becoming, were especially well chosen. Her final notes showed an emotional outburst that spoke more of the character’s naïveté than of her entrancement with the jewels produced by Mephistopheles.

Among other singers performing in both solo and shared pieces J’nai Bridges gave a sublime account of Sapho’s aria, “Où suis je … Ô ma lyre immortelle” [“Where am I … o my immortal lyre”] from Gounod’s opera Sapho. Bridges led the listeners into Sapho’s emotional world, the character’s distress at the end of her life being expressed in contrasting lines with “nuit eternal” [“eternal night”] and “douleur” [“pain”], both descending to full deep notes, and her wounded “cor” [“heart”] showing the singer’s glistening upper register. As Sapho’s inevitable act of suicide approached, Bridges’s voice rose at the contemplation “sous les andes” [“beneath the waves”]; she invoked her watery death with chilling, individual low pitches on “dans las mer” [“in the sea”] before appealing to the ocean to indeed open itself up [“ouvre toi”] with a final, shockingly dramatic top note on the repetition of “dans la mer.” A very different sort of character emerged in her duet from Porgy and Bess, shared with the Porgy of baritone Will Liverman. Mr. Liverman has an excellent command of legato which he sustained throughout, just as Bridges declared “I’s your woman now.” Both singers’ voices suggested the mutually enveloping emotions of their characters as the line “We is one now” remained the predominant theme communicated. In his solo contribution, “Batter my heart” from John Adams’s Doctor Atomic, Liverman showed very effectively the tension felt by Oppenheimer as he struggled with the responsibilities of his scientific research and its effects on humanity. Yet another couple deserves mention for their vocal and dramatic commitment. Soprano Emily Birsan and tenor John Irvin sang a delightful account of “Chiedi all’aura lusinghiera” from Act I of Donizetti’s L’elisir d’amore. Both artists demonstrated their ease and technical skill at bel canto singing, while each was especially sensitive to weaving a lyrical statement that suggested a growing sense of attraction and an independent resistance to the same. As a fitting conclusion to the evening the latter two performers were joined by Miller, Evans, and Ollarsaba, as well as the full ensemble, in “The promise of living” from Aaron Copland’s The Tender Land.

Salvatore Calomino

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):