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.
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.
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.
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.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
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).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
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.
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).
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.
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.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
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.
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.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
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.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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.
Amanda 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.
Beverly 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.
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