15 Nov 2016
Madama Butterfly in San Francisco
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
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.
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.