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.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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.
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.
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.
'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.
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.
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.
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.
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.
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.
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.
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.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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