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

Mark Padmore and Mitsuko Uchida at the Wigmore Hall

The journey is always the same, and never the same. As Ian Bostridge remarks, at the end of his prize-winning book Schubert’s Winter Journey: Anatomy of an Obsession, when the wanderer asks Der Leiermann, “Will you play your hurdy-gurdy to my songs?”, in the final song of Winterreise, the ‘crazy but logical procedure would be to go right back to the beginning of the whole cycle and start all over again’.

Turandot in San Francisco

San Francisco Opera wrapped up its 95th fall opera season just now with a bang up Turandot. It has been a season of hopeful hints that this venerable company may regain some of its former luster.

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

OPERA TODAY ARCHIVES »

Reviews

08 Nov 2017

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Manon in San Francisco

A review by Michael Milenski

Above: Shadow of des Grieux in the staging by Vincent Boussard [All photos by Cory Weaver, courtesy of San Francisco Opera]

 

Not that Jules Massenet’s 1884 opera based on the Abbé Prevost’s 1731 novel has much to do with San Francisco’s tech drenched world. Except that the production by French director Vincent Boussard — with a perfect cast top to bottom (a rare feat for SFO) and deep musical sympathy for Massenet’s trivial but magnificently crafted score by French conductor Patrick Fournillier — reverberated with trivial, exquisitely crafted emotions. It was a pure, universal art without much to do with anything or anywhere.

American soprano Ellie Dehn (Fiordiligi and Donna Elvira in recent SFO Mozart revivals) brought purity of voice, impeccable technique and refined musicianship and made Massenet’s shallow trollop into an exquisite porcelain miniature. In aria after aria (there are lots and lots of them) Ms. Dehn’s Manon’s artistic integrity belied her selfishly frivolous ambitions. Her crystalline portrayal reflected off of the mirrored floor, her shadow caught on a curved wall that was at once her world and the world’s display case.

Manon_SFO2.png
La petite table of Act II

American tenor Michael Fabiano (Rodolfo and Don Carlo in recent SFO productions, Jose at the Aix Festival) added stature to his exploding career as des Grieux, the amplitude of his voice and his studied acting made Massenet’s impulsive young lover — who without a second thought hides his chagrin in abbott’s habit overseen by crucified Jesus hanging in an upper vast black void — into a formidable operatic creation, never mind that it only took a few confused seconds for him to pull Manon onto the floor of the church and roll on top of her. All this after his exquisite "Ah ! Fuyez, douce image” that was met with our thunderous applause.

For those many of you who didn’t stick around for the end, Manon expired down stage center in des Grieux’ arms before rolling off the mirrored floor into the total black void that had enveloped the entire stage, all traces of the world erased. There were only these two meaningless creatures in the throes of high art. It was, in fact, sublime.

Manon_SFO3.pngMichael Fabiano as des Grieux and Ellie Dehn as Manon

Director Boussard’s set designer Vincent Lemaire provided the curved sloping wall and the mirrored floor that continued up the downstage left wall. As well it will have been Mr. Lemaire who provided the nothingness of the black void. Mr. Boussard created his own costumes, fantasy abstractions of the Belle Époque, the women’s costumes adding intense color to the colorless monotones of the stage. Gilded shopping bags and gift boxes punctuated the space, not to overlook the bouquets of balloons, one of which transported Manon from the top of the wall to the floor of the stage!

This complex stage may have been heaven itself for the art of lighting designer Gary Marder, or maybe it was hell. Whichever, the lighting was a tour de force. From time to time the floor reflected onto the wall, the wall was bathed in color reflected on the floor, the minds and bodies of the actors were amplified by their shadows cast upon the wall, all the stage was black except for the precise illumination of the singers, and seemingly infinite variations of all the above.

The French of the all American cast had been coached to kingdom-come, making the spoken dialogues fun to follow as best we could, helped by the supertitles. Excellent companions to the Manon of Ms. Dehn and the des Grieux of Mr. Fabiano were des Grieux’ father (an exact echo of La traviata’s Germont), richly intoned by age appropriate bass James Creswell, Manon’s sleazy cousin Lescaut cockily delivered by baritone David Pershall and Lescaut’s rich friend de Bretigny intoned by elegant and worldly Timothy Mix. Providing additional, substantial vocal pleasure was the trio of actresses smoothly sung by Renée Rapier, Laura Krumm and Monica Dewey (strangely not a current Adler Fellow on the roster).

A slowly descending grand chandelier substituted the fourth act ballet, though when Manon’s original suitor Guillot (Robert Brubaker) entered he was accompanied by a sous-sus-ing ballerina in tutu (Rachel Speidel Little) on a leash.

This masterful Boussard production originated in Vilnius in 2015. From San Francisco it travels to Tel Aviv. Not to be missed.

Michael Milenski


Cast and production information:

Manon: Ellie Dehn; Chevalier des Grieux: Michael Fabiano; Lescaut: David Pershall; Comte des Grieux: James Cresswell; De Brétigny: Timothy Mix; Guillot: Robert Brubaker; Pousette: Monica Dewey; Javotte: Laura Krumm; Rosette: Renée Rapier. Chorus and Orchestra of the San Francisco Opera. Conductor: Patrick Fournillier; Stage Director: Vincent Boussard; Associate Director: Gediminas Seduikis; Scenery: Vincent Lemaire; Costumes: Vincent Boussard; Lighting Designer: Gary Marder. War Memorial Opera House, San Francisco, November 7, 2017.

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):