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

Vaughan Williams Dona nobis pacem - BBC Prom 41

Prom 41 at the Royal Albert Hall, London, with Edward Gardner conducting the BBCSO in Vaughan Williams's Dona nobis pacem, Elgar's Cello Concerto (Jean-Guihen Queyras) and Lili Boulanger . Extremely perceptive performances that revealed deep insight, far more profound than the ostensible "1918" theme

John Wilson brings Broadway to South Kensington: West Side Story at the BBC Proms

There were two, equal ‘stars’ of this performance of the authorised concert version of Leonard Bernstein’s West Side Story at the Royal Albert Hall: ‘Lenny’ himself, whose vibrant score - by turns glossy and edgy - truly shone, and conductor John Wilson, who made it gleam, and who made us listen afresh and intently to every coloristic detail and toe-tapping, twisting rhythm.

Prom 36: Webern, Mahler, and Wagner

One of the joys of writing regularly – sometimes, just sometimes, I think too regularly – about performance has been the transformation, both conscious and unconscious, of my scholarship.

Prom 33: Thea Musgrave, Phoenix Rising, and Johannes Brahms, Ein deutsches Requiem, op.45

I am not sure I could find much of a connection between the two works on offer here. They offered ‘contrast’ of a sort, I suppose, yet not in a meaningful way such as I could discern.

Gianni Schicchi by Oberlin in Italy

It’s an all too rare pleasure to see Puccini’s only comedy as a stand alone opera. And more so when it is a careful production that uncovers the all too often overlooked musical and dramatic subtleties that abound in Puccini’s last opera.

Sarah Connolly and Joseph Middleton journey through the night at Cadogan Hall

The mood in the city is certainly soporific at the moment, as the blistering summer heat takes its toll and the thermometer shows no signs of falling. Fittingly, mezzo-soprano Dame Sarah Connolly and pianist Joseph Middleton presented a recital of English song settings united by the poetic themes of night, sleep, dreams and nightmares, juxtaposing masterpieces of the early-twentieth-century alongside new works by Mark-Anthony Turnage and Australian composer Lisa Illean, and two ‘long-lost’ songs by Britten.

Vanessa: Keith Warner's Glyndebourne production exposes truths and tragedies

“His child! It must not be born!” Keith Warner’s new production of Samuel Barber’s Vanessa for Glyndebourne Festival Opera makes two births, one intimated, the other aborted, the driving force of the tragedy which consumes two women, Vanessa and her niece Erika, rivals for the same young man, Anatol, son of Vanessa’s former lover.

Rollicking Rossini in Santa Fe

Santa Fe Opera welcomed home a winningly animated production of L’Italiana in Algeri this season that utterly delighted a vociferously responsive audience.

Rock solid Strauss Salomé- Salzburg

Richard Strauss Salomé from the Salzburg Festival, conducted by Franz Welser-Möst, a powerful interpretation of an opera which defies easy answers, performed and produced with such distinction thast it suceeds on every level. The words "Te saxa Loquuntur" (The stones are speaking to you) are projected onto the stage. Salzburg regulars will recognize this as a reference to the rock foundations on which part of the city is built, and the traditions of excellence the Festival represents. In this opera, the characters talk at cross-purposes, hearing without understanding. The phrase suggests that what might not be explicitly spoken might have much to reveal.

Prom 26: Dido and Cleopatra – Queens of Fascination

In this, her Proms debut, Anna Prohaska offered something akin to a cantata of two queens, complementary and contrasted: Dido and Cleopatra. Returning in a sense to her ‘early music’ roots – her career has always been far richer, more varied, but that world has always played an important part – she collaborated with the Italian ‘period’ ensemble, Il Giardino Armonico and Giovanni Antonini.

Parsifal: Munich Opera Festival

And so, this year’s Munich Opera Festival and this year’s Bavarian State Opera season came to a close with everyone’s favourite Bühnenweihfestspiel, Parsifal, in the final outing this time around for Pierre Audi’s new production.

Santa Fe: Atomic Doesn’t Quite Ignite

What more could we want than having Peter Sellars re-imagine his acclaimed staging of John Adams’ Doctor Atomic at the renowned Santa Fe Opera festival?

Santa Fe: Continuing a Proud Strauss Tradition

Santa Fe Opera has an enduring reputation for its Strauss, and this season’s enjoyable Ariadne auf Naxos surely made John Crosby smile proudly.

From the House of the Dead: Munich Opera Festival

Frank Castorf might have been born to direct From the House of the Dead. In this, his third opera project - or better, his third opera project in the opera house, for his Volksbühne Meistersinger must surely be reckoned with, even by those of us who did not see it - many of his hallmarks and those of his team are present, yet without the slightest hint of staleness, of anything other than being reborn for and in the work.

Haydn's Orlando Paladino in Munich

Should you not like eighteenth-century opera very much, if at all, and should you have no or little interest in Haydn either, this may have been the production for you. The fundamental premise of Axel Ranisch’s staging of Orlando Paladino seems to have been that this was a work of little fundamental merit, or at least a work in a genre of little such merit, and that it needed the help of a modern medium - perhaps, it might even be claimed, an equivalent medium - to speak to a contemporary audience.

Donizetti's 'Regiment' Ride the Highway: Opera della Luna at Wilton's Music Hall

'The score … is precisely one of those works that neither the composer nor the public takes seriously. The harmony, melody, rhythmic effects, instrumental and vocal combinations; it’s music, if you wish, but not new music. The orchestra consumes itself in useless noises…'

Bernstein Bemuses in New Mexico

Santa Fe Opera’s Candide is a nearly indefatigable romp that is currently parading on the Crosby Theatre stage, chockfull of inventive ideas.

Santa Fe Floats a Beauteous Butterfly

Two new stars moved triumphantly into the ongoing run of Santa Fe Opera’s mesmerizing rendition of Puccini’s Madame Butterfly.

Götterdämmerung in Munich

What I am about to write must be taken with the proviso that I have not seen, this year or any other, the rest of Andreas Kriegenburg’s Munich Ring. Friends tell me that would have made little difference, yet I cannot know for certain.

A celebration of Parry at the BBC Proms

For Prom 17, Martyn Brabbins, the BBC National Orchestra of Wales and the BBC National Chorus of Wales brought together English music written either side of the First World War.

OPERA TODAY ARCHIVES »

Performances

From left, Kirk Dougherty (Almaviva), Colin Ramsey (Basilio), Brian James Myer (Figaro), Renée Rapier (Rosina) [Photo by Pat Kirk]
25 Nov 2016

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

San Jose’s Beta-Carotene Rich Barber

A review by James Sohre

Above: From left, Kirk Dougherty (Almaviva), Colin Ramsey (Basilio), Brian James Myer (Figaro), Renée Rapier (Rosina)

Photos by Pat Kirk

 

Inventive stage director Layna Chianakas cleverly started the homage to The Rabbit of Seville early on and carried the hijinks throughout the performance. As the orchestra launched into the jaunty up-tempo repeated chords of the overture, suddenly a silhouette of an enormous carrot appeared as a projection on the grand curtain, traveled across the front of it, and disappeared. Before you wondered if you could believe your eyes, another one appeared from the opposite side and did the same.

By then, we got it. The laughter and applause as we recognized the reference nearly drowned out the merry music-making in the pit (a taut, idiomatic reading led by Andrew Whitfield). The overture was “staged” with carrots dancing, parading and moving into positions suggesting the crossed swords of a family crest. With this cheeky beginning, the tone was set for a no holds barred romp.

OSJ Rosina and Count.pngThe Count and Rosina

Babatunde Akinboboye put his polished baritone on ample display as a winning Fiorello, serving immediate notice that the standard of the afternoon’s singing would match the ingenuity of the staging, and then some. Maestro Whitfield is also the Chorus Master and the men’s ensemble belied their disparate and ragtag look by offering meticulous harmonizing. We are all waiting Figaro’s signature entrance, of course, to experience one of the most familiar arias in all of operadom.

Brian James Myer delivered a true star turn in the title role. Factotum is too puny a word to describe Mr. Myer’s (dare I say ‘definitive’?) performance. I cannot recall encountering anyone in my many years of seeing this piece who exhibited anywhere near such a total command of the role, the style, the joyous abandon. His arsenal included an effortless stage demeanor, a thoroughly considered subtext, flawless comic timing, and a tirelessly wiry presence.

Brian’s evenly produced, appealing baritone may not be in the burly Milnes or Mattei vein, but it has plenty of ping and sass, with a warmly ingratiating tone that fills the house. Figaro is Brian James Myer’s first role assumption as a Resident Artist, and Opera San Jose can be very proud of their superlative choice in adding such a fine young talent to their roster. Nor was he alone in his accomplishments.

OSJ Lesson Kirk and Renee.pngKirk Dougherty (Almaviva) flirts with Renée Rapier (Rosina) in the Lesson Scene

The OSJ talent roster has a deep bench and the remarkably versatile tenor Kirk Dougherty turned in another treasurable performance as Count Almaviva. Mr. Dougherty once again regales us with a honeyed voice that is pliable, beautifully produced, and consistently responsive. His forays into the upper reaches of the role are as comfortably negotiated as the characterful melismas.

The Count has several comic guises in this piece to be sure, and Kirk keeps his tone freely produced even as he colors it to suggest less aristocratic denizens of Seville. His beautifully delivered serenade benefitted from his skill at providing his own guitar accompaniment, a singular feat. Like his titular costar, he established his comic credentials early on, and the expository Figaro-Almaviva duet crackled with witty Rossinian interplay.

The radiant mezzo Renée Rapier immediately engaged our ears with a plush, ripe tonal beauty that announced her as a major discovery. In short order, she also captured our hearts with an especially assured Una voce poco fa. Her fresh, spontaneous reading of this thrice-familiar piece immediately established her credentials as a first tier Rosina. Ms. Rapier’s rich lower register was wedded to a solid middle and brilliant top, giving off coloratura sparks as demanded, and coy romantic heat when appropriate.

OSJ Brian as Figaro.pngBrian James Myer as Opera San Jose's dynamic Barber of Seville

She, too, proved to be a well-rounded, richly complicated personality, and she found a variety of meaningful expression in her impersonation. Her comic sensibilities were a formidable component in the day’s success, and she clearly relished interacting and conspiring with her Figaro and Lindoro. Even though I knew it was coming, her spot on revelation that she has already written the love note that Figaro is prompting her to compose was so “right” that I barked a surprised laugh out loud. This cast was treating the audience to Barbiere as if for the first time, and we relished their sense of discovery.

The oily Music Master Basilio was well-served by the wonderfully suave basso voice of another Young Artist, Colin Ramsey. Allowing him to be honestly, unabashedly youthful was an inspired choice, and no comedy was lost by showcasing Mr. Ramsey’s gorgeously rolling tones, with their vibrant young sheen. A solidly delivered La calunnia has rarely been as pleasingly voiced, yet with all the necessary sinuous underpinnings.

Considering that Valerian Ruminski was undertaking the challenging part of Bartolo for the first time, he revealed much in his depiction of the devious curmudgeon. Mr. Ruminski has a smooth, orotund baritone, perhaps a bit too smooth for this volatile character. His was not (yet?) in the tradition of bloviating, blustering practitioners, but is a little (too?) smooth around the edges. His difficult rapid-fire patter was not always as precise as it may become. Still, his persona and physical stature are ideal for the role and he proved a competent player in the twisting plot. His outlandishly comic, brazenly mis-tuned aria in the Lesson Scene was alone worth the price of admission.

It would be hard to imagine a more committed and scene-stealing Berta than that embodied by the vivacious Teressa Foss. Too often this can be a throw-away part, but Ms. Foss played a deliciously willing accomplice in Rosina’s detention, with an apparent girly fixation on carrying stuffed animals, which increased in obsessive number as the show progressed. Teressa is also possessed of a laser-focused whiz-bang of a soprano voice, and her effortless flights above the staff were as admirable as they were totally unexpected. In the small role of the Sergeant, Sidney Ragland made every phrase count with a secure delivery

OSJ Bartolo.pngValerian Ruminski's role debut as Bartolo

The physical production was all that could be wished. Matthew Antaky designed an unfussy, practical, attractive set that afforded plenty of opportunities for varied blocking, effective levels, and even a few surprises. The colorful exterior for the opening was wonderfully dressed with palm trees, profusions of flowers, Mediterranean tiles and a fountain. That gave way to a two-level interior with enough doors for a decent Feydeau farce. 

Alyssa Oania is credited as being costume coordinator, which may mean she carefully selected the good-looking attire from stock. But Rosina’s well-styled burgundy dress and Spanish shawl seemed far too fetching not to have been created specifically for her, and Basilio’s accessories (including eyewear resembling designer goggles, prissy white hanky, fuschia jabot and matching striped socks) were brilliant touches. And were brilliantly copied for Almaviva’s phony teacher in Act Two.

A highly effective wig and make-up design complemented the dress, with Christina Martin providing excellent support. The gag of having Figaro distractedly tease Bartolo’s wig, not having realized the good Doctor has vacated it, was a memorable visual. And Basilio’s heavily made up doe eyes and high cheekbones made him look eerily like Lily Tomlin in drag. The bobbling, wobbling mustache for Almaviva’s drunken soldier was also a comic plus.

Kent Dorsey achieved a good deal with his diverse lighting design. In addition to even area washes and atmospheric gobos, Mr. Dorsey programmed a number of specialty spots that were helpful in creating a rhythm to the look and flow of the show. He alternated blackouts with spotlighting Figaro during his entrance aria, contributing to the cartoon-like sensibility that permeated the concept. Only the colored disco light effect at the end seemed slightly out of sync.

OSJ Berta.pngTeressa Foss's Berta loves animals

With all the key casting and technical positions filled with consummate professionals, it was arguably Maestro Whitfield and Director Chianakas who were the icing on the cake. Or the maple glaze on the carrots. Whitfield helmed a talented collective of solid strings, colorful winds, and punctuating brass that unified into an effective Rossinian arc. And Ms. Chianakas drew out richly detailed interplay onstage that was chockfull of revelatory ideas. 

The uninhibited clowning by the choristers at the top, including some balletic goofs, was infectious and conveyed an expectation of what would follow. This included a dizzy moment with the Count and the Barber freezing as “statues” in the fountain to avoid detection by Bartolo, who is exiting his house. The removal of the ladder by some unseen force in the climactic scene was perfectly timed. I am not sure that Mr. Myer’s masterful Figaro needed help putting across his aria by the addition of three chorus girls extras sporting huge wigs studded with salon accouterments, but I appreciate the thought.

A far better thought was turning the storm into a psychological tempest, in which a dreaming Rosina presents a love letter to each of the other principals, then thinks better of it and tears the missives up one by one before returning to her sleep on the settee. A well-considered, serious moment in all the jollity.

But it was not long before those danged carrots were back with us, as a running gag that paid good dividends. Whether being played as musical instruments, tossed about the stage, or God knows what else, those orange veggies always brought us back to the source of this production’s comic inspiration.

So, what’s up Doc? A witty, slapstick celebration of an in-joke that was always characterized by well-calculated physical and intellectual humor, and married to an admirably first tier musical execution. In short, another solid achievement by the resourceful Opera San Jose.

James Sohre


Cast and production information:

Fiorello: Babatunde Akinboboye; Almaviva: Kirk Dougherty; Figaro: Brian James Myer; Bartolo: Valerian Ruminski; Rosina: Renée Rapier; Berta: Teressa Foss; Basilio: Colin Ramsey; Sergeant Sidney Ragland; Conductor/Chorus Master: Andrew Whitfield; Director: Layna Chianakas; Set Design: Matthew Antaky; Costume Coordinator: Alyssa Oania; Lighting Design: Kent Dorsey; Wig and Make-up Design: Christina Martin

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):