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

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Maria (Elise Quagliata) with El Payador (Ricardo Rivera) [Photo by Duane Tinkey]
11 Jul 2017

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.

Maria Visits Des Moines

A review by James Sohre

Above: Maria (Elise Quagliata) with El Payador (Ricardo Rivera)

All photos by Duane Tinkey

 

While its three main stage productions continue to be performed in Blank Performing Arts Center on the Simpson College campus, 30 minutes away in Indianola, DMMO systematically develops audiences by mounting innovative smaller productions of non-standard repertoire in the heart of Iowa’s capital city. The success of this outreach is attested to by consistent sold out runs of these innovative projects.

Maria was presented in the historic Temple for the Performing Arts, which proved to be a most congenial fit. Set designer Adam Crinson has created an effective environment to enfold the action, with large, framed rectangular collages of distressed wooden window shutters spaced throughout the sides of the auditorium. Selected front row seating was at tables and chairs, with some also spilling up onto stage left, suggesting a tango nightclub venue. Mr. Crinson carried the distressed wood look into the backdrop, which was constructed of vertical slats topped by a wide, textured fabric wall hanging. A matching proscenium treatment, and rolling bar unit stage right completed the simple, limited, but eminently practical playing space.

Nate Wheatley has contributed an inventive lighting design that beautifully serves the dramatic, brooding text and music. The afore-mentioned ubiquitous panels each had individual lights installed at the top, which could alter the color wash to suit the mood. Above the stage hung variations on white globe ceiling lights, which could also change hue. Mr. Wheatley managed to alter the general area lighting with good success, although he was likely restrained from adding more specials by the limited number of instruments I counted. One effect that paid off handsomely was the tight center aisle spot that allowed Maria to wander into the audience during her penultimate number.

DSC_5742.pngAstor Piazzolla’s “Tango Opera”

Heather Lesieur and Atlanta Opera are credited with the spot-on, character-specific costumes, a stunning array of jewel tones and reds. The selective use of masks and primitive props added to the gritty ritualistic tone of the storytelling, which was staged with inventive mischief by director Octavio Cardenas.

Mr. Cardenas embraced the composition, and acknowledged that it is decidedly not a linear tale. He created a 90-minute series of constantly morphing impressions, characterized by fluidity of motion and variety of theatrical effects. He seized on the rampant symbolism and distilled it into comprehensible dramatic points. Octavio used the entire space as his canvas, with actors entering and exiting from every nook and cranny, meticulously coordinated, but nevertheless suggesting a spontaneous, immersive theatrical experience.

The distinctive score was conducted with aplomb and incisive rhythmic propulsion by Stefano Sarzani, who numbered several Piazzolla “specialists” in his small orchestra: Daniel Binelli (Bandoneon) Polly Ferman (Piano) and Scott Mateo Davies (Guitar). All of the instrumentalists performed with real distinction for Maestro Sarzani, whether as part of a tightly knit ensemble or as featured soloist, often playing with raw energy. That said, I sometimes wished the subtle, tasteful solo violinist had summoned a little more zesty sass in the jazzy licks.

DSC_5799.pngTango Dancers Jairelbhi Furlon and Guillermo Merlo

The band was stage right of the proscenium, and was sometimes part of the action. The interplay between bandoneonist Binelli and the narrator was especially witty. The sound palette of this unique musical world was consistently on point, and the band partnered exceptionally well with the singers and dancers. I only wish that the actors hadn’t been miked. The volume was half again as much as was needed, if it was indeed really needed at all. No matter where a performer was sanding on stage, the voice seemed to be coming from the top center of the proscenium. Perhaps this could be adjusted for remaining shows.

Even with that caveat, from her first appearance the stunningly attractive Elise Quagliata owned the title role. The part mostly lies in the low register, where Ms. Quagliata’s searing chest voice made a powerful effect. It may have been the amplification, or the mix, but in the first scene she sounded just a bit pressed, the tone tending to harden as she took a belting approach to the writing. However as the evening went on, Elise quickly relaxed the delivery, finding increasingly more legato that showed off her poised tone to perfection in a wide range of demanding emotional states. Dramatically and musically, she does not so much perform the part as inhabit it. A remarkable star turn.

Rodolfo Nieto’s El Duende (The Goblin, as narrator) is marked by a sensitive, impassioned delivery that too, is hindered a bit in his effect by the volume knob. That Mr. Nieto nonetheless makes an imposing, invaluable narrator is owing to his charisma and dramatic stature. As El Payador (Cantor or Minstrel) baritone Ricardo Rivera made the most of the diverse vocal demands, offering suave vocalism of the first rank whether investing introspective phrases with a haunting grainy quality; slamming out declamations above the staff with ferocious power and accuracy; or spinning out creamy melodies with a melting arch of gorgeous sound.

This piece is billed as a tango opera, and there are plenty of such moments to savor as a lithe pair of dancers, Jairelbhi Furlong and Guillermo Merlo, found a diverse array of effects with which to engage and delight us. Performing their own inventive choreography, the duo skillfully incorporated select props into their routines including a red scarf, an A-frame ladder, and best, a man’s suit jacket which they kept passing back and forth by inserting arms in empty sleeves. Yahaddabethere! Their every duet was rapturously received.

With this memorably stylish, cheered-to-the-rafters production of a seldom performed jewel, DMMO reminds us yet again why they are one of the most invaluable regional companies in the nation.

James Sohre


Cast and production information:

Maria: Elise Quagliata; El Duende: Rodolfo Nieto; El Payador: Ricardo Rivera; Young Maria: Lauren Verm; Dancers: Jairelbhi Furlong, Guillermo Merlo; Conductor: Stefano Sarzani; Bandoneon: Daniel Binelli; Piano: Polly Ferman; Guitar: Scott Mateo Davies; Director: Octavio Cardenas; Set Design: Adam Crinson; Lighting Design: Nate Wheatley; Make-up and Hair Design: Brittany Crinson for Elsen and Associates; Costumes: Heather Lesieur, Atlanta Opera

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):