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 Performances

A sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

OPERA TODAY ARCHIVES »

Performances

Sara Gartland as Rusalka [Photo by Tim Trumble]
26 Nov 2016

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

Rusalka, AZ Opera

A review by Maria Nockin

Above: Sara Gartland as Rusalka

Photos by Tim Trumble

 

With water-reflected light bathing the stage, Water Nymph Rusalka and her sisters “swam” sitting on the backs of chairs and waving their arms much as Russian ballerinas do in The Dying Swan.

Their world was separated from the world of humanity by a forbidding white door. Water nymphs and wood sprites wore ethereal gowns that moved gracefully with them and allowed the audience to perceive them as denizens of a different realm. Melinda Whittington was a poignant, tragic Rusalka who enchanted the audience and brought them into her world with her moon song “Mesiku na nebi hlubokem” (“O moon high up in the sky”).

Rusalka dress-9.pngSara Gartland and David Danholdt as Rusalka and The Prince

When Rusalka fell in love with the human Prince, her father, Vodnik, sung magnificently by Richard Paul Fink, warned her that no good could come of the match because humans are sinful. I wonder if Dvořák got his idea for Vodnik and the Three Wood Sprites from Wagner's Das Rheingold. Vocally, the combination of stentorian baritone and three high lyric voices was fascinating. Daveda Karanas was a human looking Ježibaba. With no pointed ears or other marks of an alien being, she wore a dress with a cut-out bustle that would have been quite fashionable in 1890s. She sang with dramatic vocal colors, but her characterization was rather bland.

Kevin Ray was a dramatic-voiced Prince whose character was bewildered by two women, Rusalka and the Foreign Princess, vying for his hand. Alexandra Loutsion was every inch the evil Foreign Princess and she sang with easily produced warm and resonant dramatic notes that made me wonder if she is a future Wagnerite. In this fairy tale, the Foreign Princess got the Prince’s ring and eventually shoved the social climbing water nymph back into her pond. That was a sad lesson, indeed, but one that must sometimes be learned.

Rusalka dress-7.pngDaveda Karanas and Sara Gartland as Ježibaba and Rusalka

Kevin Newell was a dutiful hunter, but The Gamekeeper in a scruffy wig and the cowardly but limber Kitchen Boy supplied the comic relief that kept Rusalka from being totally tragic opera. Henri Venanzi’s chorus never appeared in front of the curtain and I wondered why. He has a good group but they might have seemed too earthbound for nymphs or sprites.

Dvořák’s music is exquisite and Conductor Steven White presented it in all its liquid, translucent beauty. Although memorable, the moon song is not the only great piece in this opera. There are many other scenes of similar evocative lyricism. The duet between Rusalka and the Prince has been described as one of the most enchantingly nuanced in all opera. Rusalka is a work we need to hear again so that we can get to know and understand its melancholy charm. I hope it won’t be too long before a company in Arizona or Southern California again presents Rusalka. It’s well worth hearing more than once.

Maria Nockin


Cast and production information:

Conductor, Steven White; Stage Director, Joshua Borths; Set Design, Mark Halpin; Costume Design, Adriana Diaz; Lighting Design, Jeremy Dominik; Choreographer, Molly Lajoie; Rusalka, Melinda Whittington; The Prince, Kevin Ray; Vodnik, Richard Paul Fink; Ježibaba, Daveda Karanas; The Foreign Princess, Alexandra Loutsion; Wood Sprites: Katrina Galka, Lacy Sauter, and Mariya Kaganskaya; Gamekeeper, Joseph Lattanzi; Kitchen Boy, Alyssa Martin; The Hunter, Kevin Newell; Chorus Director, Henri Venanzi.

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):