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 Reviews

Glyndebourne's wartime Ariadne auf Naxos

It’s country-house opera season, and Glyndebourne have decided it’s time for a return of Katharina Thoma’s country-house-set Ariadne auf Naxos, first seen in 2013. Thoma locates Strauss’s opera-about-opera in a 1940s manor house which has been sequestered as a military hospital, neatly alluding to Glyndebourne’s own history when it transformed itself into a centre for evacuees from east London and the Christie children’s nursery became a sick bay.

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

OPERA TODAY ARCHIVES »

Reviews

08 Aug 2014

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Vanessa in Logan, Utah

A review by James Sohre

Above: Andrew Bidlack (Anatol) and Beverly O’Regan Thiele (Vanessa)" [All photos by Waldron Creative, courtesy of Utah Festival Opera]

 

At a time when few companies risk devoting resources to lesser-known lyric theatre, this enterprising operation has gambled, and won, with a handsome new production of Samuel Barber’s Vanessa that was characterized by first-rate musical and theatrical values.

Conductor Barbara Day Turner wielded a commanding baton that made the (slightly reduced) orchestration pulse with character and vitality. The top-notch instrumentalists, assembled from near and far, played as one and the Maestra elicited many happy revelations from the rich orchestral writing. She unleashed every bit of passion from the rhapsodic moments, and discovered a beautiful balance with the more straightforward (and sometimes witty) conversational exchanges. Moreover, the conductor was a collegial partner with the singers who were coached to a fare-thee-well. Barbara Day Turner may have just achieved the most accomplished and inspired operatic conducting I have experienced in recent memory.

The musical success was made complete by a highly accomplished cast of singers. In the demanding title role (written for Callas but passed down to Steber), Beverly O’Regan Thiele exuded glamour and elegance, physically and vocally. Hers is an alluring sound and she possesses sound technical ability. She convincingly makes the transition from desperate longing to almost girlish fulfillment. She seems to have a found a rich subtext to Vanessa, and her multi-layered portrayal is fascinating, coupled as it is with well-judged vocal effects. If I had one wish, it would be that she commanded a bit more weight in the lower middle when up against a few moments of thick orchestral texture. But happily, she doesn’t force her beautiful tone beyond its limits and the overall achievement was thoroughly captivating.

Vanessa_Sohre2.pngAmanda Tarver (Baroness), Andrew Bidlack (Anatol) and Alice-Anne M. Ligh (Erika)

As the opportunistic Anatol, Andrew Bidlack was almost too good to be true. His honeyed tenor was capable of unctuous sweetness, but also had ample reserves for the more spinto romantic urgings. The high soaring phrases held absolutely no terror for him. In addition to his persuasive vocalizing, Mr. Bidlack is handsome as all get-out, and he looks instantly believable as the cad that is young enough to be Vanessa’s former lover’s son. He communicated a calculated electricity with his conquests and one could accept that he might prompt an object of his attention to act against her own best interests.

Alice-Anne M. Light displayed a sumptuous mezzo as Erika, and she won us over early on with a delectably intoned Must the winter come so soon. With a beautifully even tone, a very wide range, and a sound technique already in her arsenal, Ms. Light might loosen up a mite and inject more dramatic color in key phrases. Erika is after all, the most complex occupant here in Dysfunction Junction. And, the most potentially sympathetic. She has all the right qualities and at the end of the day, there is always that splendid instrument. Still, I would hope that future outings will allow her to engage the audience with a deeper embodiment of the girl’s concealed pain. Richard Zuch brought Wotan-like power and Donizettian charm to the character of the Doctor. The only thing he occasionally forgot to bring was consonants. But with a bronze baritone this solid and generous, and a stage demeanor this appealing, Mr. Zuch easily won the audience over. His spinning in a drunken circle to plop on the settee while sustaining a high F-sharp was nothing short of amazing.

Kevin Nakatani made a fine impression as the servant Nicholas, and he wrung every laugh out of his moment of adoration of a guest’s fur coat. The Maids Madolynn Eileen Pressin and Elizabeth Tait had real personalities and executed specific stage business with skill. I especially liked the suggestion that one of them had also been a willing recipient of Anatol’s attention. Amanda Tarver is arguably way too young for the old Baroness, but her physicality was commendable, and it was a treat to hear the role sung with such a fresh, substantial and robust delivery. Ms. Tarver might have been assisted had her age make-up been a little more pronounced and her wig a little grayer.

Vanessa_Sohre3.pngBeverly O’Regan Thiele (Vanessa), Andrew Bidlack (Anatol), Alice-Anne M. Light (Erika), Richard Zuch (Doctor)

That is not to impugn the overall achievement of the commendable hair and make-up design contributed by Susan Sittko Schaefer. The elaborate costumes created by Wes Jenkins were richly detailed, beautiful to behold, and helped in defining the characters. Jack Shouse designed an imposing mansion’s great room dominated by a massive staircase and balcony. Everything about the look and the accessories conveyed “Old World money.” Christopher Wood’s sensitive lighting was notable for its effective isolated areas, subtle shifting moods, and astonishing accuracy. All evening, the follow-spot contributions were very, very well-executed (did I say “very”?).

If I had to single out a highpoint in an evening plump full of them, it would have to be the final quintet. The placement of the soloists, the fluidity of the illumination, the excellence of the musical writing, the perfection of the singing, the gradual build-up of tension and volume, and then when you thought it couldn’t possibly get any better, the almost unbearably powerful climax with Mr. Zuch cresting the full ensemble’s fortissimo passage with a tremendous outpouring of gorgeous baritone sound.

Daniel Helfgot staged the piece with a sure hand. He used the space and the levels very well indeed, and created believable character relationships with well-motivated movement. I liked the focal point of the landing, midway up the staircase, although initially it did seem to relegate Vanessa to a disadvantageous upstage positioning at curtain rise. Mr. Helfgot knew how to point the dramatic tension, and also injected a good deal of humor into the proceedings. One minor reservation:

Having the front doors burst open to frame Anatol’s initial appearance, backlit and with snow falling was a stunning effect to set up Do not utter a word. But when he subsequently crossed into the shadowy room during the aria, could he have not closed the doors? I mean, it is the frozen tundra out there! It remained a distraction until well after the aria when Nicholas finally rolled his eyes and shut out the cold. This same thing happened when the duo returned from ice-skating. In an evening that was consistently marked by great attention to detail and realism, these two choices seemed out of character.

That minor observation aside, this accomplished Vanessa was a cause for substantial jubilation.

James Sohre


Cast and production information:

Vanessa: Beverly O’Regan Thiele; Erika: Alice-Anne M. Light; Anatol: Andrew Bidlack; Baroness: Amanda Tarver; Doctor: Richard Zuch; Nicholas: Kevin Nakatani; Maids: Madolynn Eileen Pressin, Elizabeth Tait; Pastor: Jon Jurgens; Conductor: Barbara Day Turner; Director: Daniel Helfgot; Set Design: Jack Shouse; Costume Design: Wes Jenkins; Wig and Make-up Design: Susan Sittko Schaefer; Lighting Design: Christopher Wood; Chorus Master: Stephen Carey

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):