15 Nov 2016
Madama Butterfly in San Francisco
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
The Madama Butterfly of Armenian soprano Lianna Haroutounian may well become recognized as the Butterfly of our time, indeed one of the great Butterflies of all times. It is a role she is just now assuming, thus it is fresh in her voice, mind and body. This freshness makes these performances here in San Francisco unique, an experience not to be missed by operatic lepidopterists — and aren’t we all?
Mlle. Haroutounian arrived at Paris Opera’s young artist program through Moscow, and achieved immediate successes as many of the major Verdi heroines. In 2014 she was miscast as Tosca in San Francisco, a fine singer but simply not the diva Tosca is and must be — in voice and persona.
Mlle. Haroutounian still does not exude the complexities of a diva and this brings the sheen of innocence to her Butterfly that makes it operatically true. The purity of voice that casts her as the unstained Verdi heroine, and the security of her vocal technique sustain the youth and stamina of the 18-year-old Butterfly. The strength and beauty of tone throughout the role’s range underscore the moral certitude of this simple and courageous geisha.
The excited Saturday night audience understood and felt the gravity of Butterfly’s strength and innocence, and awarded Mlle. Haroutounian an ovation the size of which I have never before witnessed in the War Memorial Opera House.
Act I meeting of Butterfly and Pinkerton
The production was a remount of the 2006 Jun Kaneko Opera Omaha production first seen here in 2014. The production is simply a masterpiece. It is/can be pure gesamtkunstwerk — the effective if unlikely synthesis of op art with Puccini’s verismo score. The contradiction of these polar opposite styles relies on a sympathetic rhythm of parallel emotional flows to unite the abstractions of sound with the abstractions of shape. It was perfection in 2014 when the Nicola Luisotti fleetness of musical soul melded with the force of shape and delicacy of movement of the Jun Kaneko colors and images.
Canadian conductor Yves Abel conducts nine of these ten performances. Evidently smitten by the emotional force of Mlle. Haroutounian’s Butterfly he editorialized on the tragedy with volume and bombast. While Mlle. Haroutounian could sail above this much of the rest of the cast could not. Conductor Abel added dramatic pauses (silences) that were annoying, annoying long and confusing — even to the diva.
The actual staging of the singers was once again entrusted to the production’s original director, Leslie Swackhamer, a Seattle based advocate for women playwrights. The production having traveled throughout the U.S. over the past ten years has given Mme. Swackhamer much experience. In this edition Trouble remained on the stage for too much of the second act wrenching focus from Butterfly and Suzuki. Otherwise her staging was without reproach.
Anthony Clark Evans as Sharpless, Trouble, Lianna Haroutounian as Butterfly
Sharpless was sung by Lyric Opera of Chicago’s Anthony Clark Evans who despite obvious youth succeeded in bringing a deeply felt gravitas to this sympathetic bureaucrat. Mr. Evans possesses a voice of very great beauty he used with intelligence. He moved with a dramatic purpose that did not require the cane he was given, evidently to simulate age.
Pinkerton was sung by young Italian tenor Vincenzo Costanzo who has few if any of the traits of the Italian tenor. The punctuation of such stylistic mannerisms were sorely needed to balance the sheer size of the diva’s performance — the character of a Pinkerton was not vocally etched with sufficient strength to motivate the depths of their joint tragedies.
Yamadori, Butterfly’s ridiculous, old suitor was impersonated by Adler Fellow Edward Nelson who read as about nineteen years old. A lithe, handsome presence he delivered his few lines with elegance, confusing us by presenting a quite presentable, maybe preferable alternative to Pinkerton. Suzuki was sung by Adler Fellow Zanda Švēde. This fine, young singer brought an inappropriate, strongly athletic presence to Butterfly’s passive, compassionate companion, further compromised by a weird, unattractive wig. Goro was sung by Korean born Julius Ahn who contributed a light weight verisimilitude to the role, gratuitous under the circumstance. The Bonze was professionally delivered by Raymond Aceto.
Over the years this splendid production has been seen in many, many cities throughout the U.S., a monument to the high art that can be achieved in American opera. However, in addition to the questionable casting and conducting, the curved background scrim was not carefully stretched, further compromising the integrity of the Jun Kaneko production here in San Francisco.
Cast and production information:
Cio-Cio-San: Lianna Haroutounian; Lt. B. F. Pinkerton: Vincenzo Costanzo; Suzuki: Zanda Švēde; Goro: Julius Ahn; Sharpless: Anthony Clark Evans; Prince Yamadori: Edward Nelson; The Bonze: Raymond Aceto; Imperial Commisioner: Matthew Stump;
Kate Pinkerton: Julie Adams; Official Registrat: Jere Torkelsen. San Francisco Opera Chorus and Orchestra. Conductor: Yves Abel; Director: Leslie Swackhamer; Production Designer: Jun Kaneko; Lighting Designer: Gary Marder. War Memorial Opera House, San Francisco, November 12, 2016.