Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

A Falstaff Opera in Shakespeare’s Words: Sir John in Love

Only one Shakespeare play has resulted in three operas that get performed today (whether internationally or primarily in one language-region). Perhaps surprisingly, the play in question is a comedy that is sometimes considered a lesser work by the Bard: The Merry Wives of Windsor.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

OPERA TODAY ARCHIVES »

Reviews

11 Nov 2016

Aida in San Francisco

An exquisite pit, a Busby Berkeley stage, ingenue performers. Populist opera in San Francisco — in November eleven performances of Aida (alternating with ten of Madama Butterfly).

Aida in San Francisco

A review by Michael Milenski

Above: Leah Crocetto as Aida, Ekaterina Semenchuk as Amneria [All photos copyright Cory Weaver, courtesy of San Francisco Opera]

 

No echoes of spectacles like the al fresco productions beneath Egypt’s pyramids or Rome’s Baths of Caracalla. Nor of San Francisco’s famed jockstrap-less gay pride Aida, or an imagined specter of a new Zefferelli production recently dismissed by the Met. No echoes at all of the big singers that have always been called upon to evoke the monumental atmospheres commemorating global transformation.

Certainly not the 1981 San Francisco production starring Luciano Pavarotti, never-mind-the-name-of-the-opera [Aida]. If there is a star for this current production it is SFO protégé Leah Crocetto who offered a very sweetly sung Aida, and succeeded in projecting the beauties of the Italian language in an intimate “Ritorna vincitor” — though marred by a premature (surely unintended) drop of the hieroglyphically encrypted show scrim.

Aida_SF3.pngLeah Crocetto as Aida, Brian Jagde as Radames

Aida’s lover Radames was SFO protégé Brian Jagde. Once we arrived at the entombment of Aida and Radames Mr. Jagde’s knife-edged voice softened and we heard, finally and with welcome relief, a voice of a sweetness and warmth that matched that of Mlle. Crocetto’s Aida. Conductor Nicola Luisotti carefully sculpted this protracted scene into one of profound operatic intimacy. It was memorable.

Luisotti made this Verdi score all about atmospheres, pulling forth every possible musical nuance to be evoked by the flow of the Nile and the glow of the Egyptian night sky. There was innocent playfulness in the Moorish dance, and even in the eruption of violence when Radames surrendered and Aida and her father fled Luisotti sustained measured strokes. More often for Luisotti these days it was a reflective reading of the score rather than a flow of dramatic points. The maestro made exquisite music of this warhorse.

If high art emanated from the pit, low taste poured forth from the stage, and it was not unintended. Stage director Francesca Zambello has been turning out provocative productions of Aida over the decades. This edition adds the hieroglyphic inspired alphabet created by L.A. artist Retna (alias of Marquis Duriel Lewis) to her provocations. These symbols (said to actually say something — but only to Retna) covered the show curtain and the huge panels of the triumphal scene, and elsewhere. You may recall his cover art for Justin Bieber's 2015 album "Purpose."

Aida_SF2.pngA moment in the Triumphal Scene

Zambello added as well eight dancing boys, and eight more boys who danced but were not trained dancers, two of whom were accomplished acrobats. When not dancing these groups of males sometimes marched across the back of the stage. Evidently the ritualized motions of these males were intended to illustrate religious statehood. Mme. Zambello used a related movement technique as well in her La vestale at ENO some years ago.

The choreography was created by Jessica Lang, a well-known name in institutional dance. She imagined complex, highly geometrical routines whenever possible but especially in the triumphal scene where there was no procession, instead a ballet in which the eight dancing boys chased and threw around a ballerina. Mmes. Lang and Zambello enforced a crescendo of visual razzle dazzle through which we barely felt the measured pace of the maestro’s triumphal march. It was tongue-in-cheek, camp and kitsch all at once. And sort of lovable.

Zambello updated the costumes to generic uniforms and religious robes of recent periods, and the program notes declared that the supertitles would say foreigners rather than Ethiopians or slaves. Mme. Zambello’s intended message that women were looked upon as possessions of men was perhaps apparent only to her, though the hijab-less ballerina was indeed tossed about quite a bit.

Things get serious in the third act and it was here that the singers seemed undirected, left to wander in a stage space absent of context. It was here that we felt to need of heroic singers to construct the political and dynastic catastrophe that Verdi creates musically, i.e. operatically. Aida does not play as a chamber opera of familial proportions cum triumphal scene, though this premise may have precipitated the role debuts of Mlle. Crocetto and Mr. Jagde.

With the exception of the Amonastro sung by baritone George Gagnidze and the Ramfis of Raymond Aceto, both seasoned, solid professionals additional casting was inexplicable. Precocious Adler Fellow bass Anthony Reed sang the King of Egypt who invites his daughter Amneris to award Radames the triumphal crown. The supertitles were not modified to indicate the obvious — that this Amneris was twice the age of the young king and was thus his mother! Amneris, sung by Russian mezzo Ekaterina Semenchuk, found appropriate colors in her upper voice but otherwise melted into the scenery.

Michael Milenski


Cast and production information:

Aida: Leah Crocetto; Amneris: Ekaterina Semenchuk; Radames: Brian Jagde; Amonasro: George Gagnidze; Ramfis: Raymond Aceto; King of Egypt: Anthony Reed;
A Priestess: Toni Marie Palmertree; A Messenger: Pene Pati. San Francisco Opera Chorus and Orchstra. Conductor: Nicola Luisotti; Director: Francesca Zambello;
Associate Director: E. Loren Meeker; Choreographer: Jessica Lan; Artistic Designer: RETNA; Set Designer: Michael Yeargan; Costume Designer: Anita Yayich; Lighting Designer: Mark McCullough. War Memorial Opera House, San Francisco, November 8, 2016.


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):