Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Kurt Weill’s Street Scene

Kurt Weill’s “American opera,” Street Scene debuted this past weekend in the Kay Theatre at the Clarice Smith Performing Arts Center, with a diverse young cast comprised of students and alumni of the Maryland Opera Studio (MOS).

Handel's Brockes-Passion: The Academy of Ancient Music at the Barbican Hall

Perhaps it is too fanciful to suggest that the German poet Barthold Heinrich Brockes (1680-1747) was the Metastasio of Hamburg?

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.

Drama Queens and Divas at the ROH: Handel's Berenice

A war ‘between love and politics’: so librettist Antonio Salvi summarised the conflict at the heart of Handel’s 1737 opera, Berenice. Well, we’ve had a surfeit of warring politics of late, but there’s been little love lost between opposing factions, and the laughs that director Adele Thomas and her team supply in this satirical and spicy production at the ROH’s stunningly re-designed Linbury Theatre have been in severely short supply.

Mozart’s Mass in C minor at the Royal Festival Hall

A strange concert, this, in that, although chorally conceived, it proved strongest in the performance of Schumann’s Piano Concerto: not so much a comment on the choral singing as on the conducting of Dan Ludford-Thomas.

Samson et Dalila at the Met


It was the final performance of the premiere season of Darko Tresnjak’s production of Camille Saint-Saëns' Samson et Dalila. Four tenors later. 

The Enchantresse and Dido and Aeneas
in Lyon

Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the Opéra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.

The devil shares the good tunes: Chelsea Opera Group's Mefistofele

Every man ‘who burns with a thirst for knowledge and life and with curiosity about the nature of good and evil is Faust ... [everyone] who aspires to the Unknown, to the Ideal, is Faust’.

OPERA TODAY ARCHIVES »

Performances

Daniela Mack as Carmen [Photo by Tim Trumble]
19 Feb 2016

Arizona Opera Presents an Interesting Carmen

Henri Meilhac and Ludovic Halévy, based their libretto for Georges Bizet’s opera Carmen on a novella of the same title by Prosper Mérimée. On March 3, 1875, Carmen was premiered at the Opéra-Comique in Paris.

Arizona Opera Presents an Interesting Carmen

A review by Maria Nockin

Above: Daniela Mack as Carmen

Photos by Tim Trumble

 

Because the subject matter was considered vulgar and inappropriate for the Comique’s family-oriented audience, it was not well received. The opera’s depiction of lawlessness and immorality broke new ground in French opera. Carmen would later be considered the bridge between opéra-comique and the verismo style of late nineteenth century Italian opera.

Although Carmen was not revived in Paris until 1883, productions outside of France drew large audiences before that and the opera was soon on its way to becoming the immensely popular work it is today. According to Operabase, Carmen is now the world’s second most popular opera. The only opera that is more popular than Carmen is Verdi’s La traviata.

On February 5, 2016, Arizona Opera presented Carmen in an updated but otherwise traditionally realistic production directed by Tara Faircloth. Douglas Provost’s functional set allowed the story to unfold in a straightforward manner.

Carmen 38.pngDaniela Mack and Adam Diegel as Carmen and Don José.

As Carmen, Daniela Mack sang her lines with an exquisite palette of colorations and smooth dynamic range. A singer with dark hued sultry tones, she also had a fine sense of French style. Her personality could have been more fiery and her acting more intense in the dramatic scenes, but she did keep all eyes upon her when she sang. Her renditions of the Habañera and Seguidilla established her passionate nature and the deviousness of her character and she continued to emphasize Carmen’s fickleness as the plot unfolded. Her Chanson Bohème showed her love of unrestricted freedom and her Card Song proved her belief in the power of fate.

Adam Diegel was a rough-edged and dramatic Don José whose burnished, virile sound rang free throughout the auditorium. He delivered his lines with dramatic conviction and his acting conveyed considerable emotional impact. The Micaëla, Karin Wolverton was a great deal more than a simple country girl who wanted to marry a soldier. A brave and feisty young woman, she readily faced the dangers of looking for her boy friend among a band of soldiers and searching for him at night at an international border crossing. Best of all, Wolverton sang with silvery tones that blossomed into exquisite top notes.

Carmen 33.png Daniela Mack and Joseph Lattanzi as Carmen and Morales

Calvin Griffin as Zuniga and Joseph Lattanzi as Morales contributed effective portraits as two of the coarse, unrefined soldiers. Ryan Kuster gave a strong impression as the handsome and charismatic celebrity, Escamillo. The difficult tessitura of the Toreador Song seemed easy for him as he sang it to his fans at Lillas Pastia’s Tavern. Amy Mahoney and Alyssa Martin as Frasquita and Mércèdes, Joseph Lattanzi and Andrew Penning as El Dancaïro and El Remendado handled their assignments with alacrity. Together with Mack as Carmen the group gave a strong rendition of the tricky Quintet.

Henri Venanzi’s chorus was well prepared and sang in fine French style, but they tended to move as a group rather than as individuals. Conductor Keitaro Harada gave a balanced reading of the score that had a lucidity of musical detail and a good helping of emotional tension. He gave every phrase its proper shape and drew especially fine playing from the orchestra in the delightful entr'acte that opens the third act.

Audiences never seem to tire of Carmen and it always seems to retain its power to quicken the pulse. The many bows and the standing ovation that greeted Arizona Opera’s fine cast at the end of this performance only serve as a reminder of the opera's well deserved place in the repertoire.

Maria Nockin


Cast and production information:

Carmen, Daniela Mack; Don José, Adam Diegel; Escamillo, Ryan Kuster; Micaela, Karen Wolverton; Morales/El Dancaïro, Joseph Lattanzi; El Remendado, Andrew Penning; Frasquita, Amy Mahoney; Mércèdes, Alyssa Martin; Zuniga, Calvin Griffin; Conductor, Keitaro Harada; Director, Tara Faircloth; Lighting and Scenic Director, Douglas Provost; Projection Designer, S. Katy Tucker; Chorus Master, Henri Venanzi; Fight Director, Andrea Robertson.

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):