25 Nov 2008
La Bohème in San Francisco
The show curtain was an illustration of the typical Parisian skyline.
Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.
Dystopic vision of Carmen, brought to life by vibrantly gripping performances
Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.
Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?
The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.
New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.
I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.
Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.
There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.
On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.
Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.
Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.
R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?
A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.
It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.
San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.
In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
The show curtain was an illustration of the typical Parisian skyline.
On the downbeat it quickly parted to reveal a scenic contraption that was a garret of sorts, its mattress elevated on a pile (illustrated, not real) of books, and an admonition written on the wall Se plaindre c’est un perdre du temps (for those of the audience who didn’t know French or were sitting too far away to read it, this told us that complaining is a waste of time).
So, let us not waste time on what we found lacking, and get right to what we liked. San Francisco Opera Music Director designate, Nicola Luisotti, participated with every syllable uttered on the stage, literally quivered with every emotion, and wrenched very grand pathos out of Puccini’s sad little story. Donald Runicles’ San Francisco Opera Orchestra responded full bore to their new maestro with renewed lyricism and resplendent tone proving itself again one of the world’s fine operatic ensembles.
Moments of extraordinary verismo abounded. The monochromatic tenor of Piotr Beczala made sudden sense in the third act when Mo. Luisotti orchestrally evoked the naïve, adolescent recognition of new feelings by what seemed to be an emotionally retarded tenor. The fourth act duet of reconciliation shivered with tiny flashes of love, and finally the sudden, overwhelming orchestral cry, joined by that of Rodolfo, shattered the silence of death.
Norah Amsellem (Musetta)
Back at the first act, Mimi and Rodolfo sustained full throated high “C’s” offstage as the garret contraption disappeared into kinetic openness of a Parisian place. Illustrated hotels de la ville materialized in front of our eyes in a surprisingly simple, and pleasing a vista transformation of scene. The Cafe Momus later materialized much less elegantly, to become populated suddenly and a little strangely by a noisy crowd of youngsters — the amazing San Francisco Boys Chorus (with some members of the San Francisco Girls Chorus) singing boisterously and joyfully, and always on the beat.
The big house extravagance of a real marching band (two drums, four trumpets, two piccolos) parading noisily across the stage at the end of Act II was deeply satisfying too. Some of the best Boheme’s understandably occur in provincial theaters where resources are usually as humble as are the opera’s protagonists, and where it is far more cost efficient to render this lively musical climax from the pit.
If Maestro Luisotti gave us the very real if overscaled emotions of verismo, Angela Gheorghiu gave us simplicity itself as the ill-fated Mimi. She was the evening’s only believable and real character, achieved by la Gheorghiu with true artistry, artistry that often tested, and sometimes even teased her considerable, sophisticated vocal technique. Madame Gheorghiu (she is an officier de l’Ordre des Arts et des Lettres) indeed creates a vocally complex Mimi. That it is so physically manifest (acted out) is another matter, understandably irritating to the uninitiated, and irritating to stage directors who are almost universally not among her fans.
One can only sympathize with Mme. Gheorghiu in her trials with Lyric Opera of Chicago regarding an AWOL from her Chicago Boheme manquée rehearsals to visit Roberto who was singing Faust just then at the Met (if there is possibly anyone who does not yet know, the French tenorissimo Roberto Alagna is her husband). As Mme. Gheorghiu knows, Mimi is the calm center of the maelstrom of emotions that are La Boheme. What more is there for her to do than walk on stage at the end of Act I and sit on the bed while Rodolfo sings, sit at a table at the Cafe Momus while Musetta sings, hover in the background in Act III while Rodolfo and Marcello sing, and lie in bed in Act IV while her friends emote one by one. Quite obviously it is Mimi’s friends, not Mimi, who need rehearsal time as they are the ones who complete the show.
Scene from Act II
These San Francisco Opera performances of La Boheme (the last one will mark the two hundred twenty third SFO performance of Puccini’s little opera) bare the delicacy of this masterpiece when attempted with extravagant operatic resources. In San Francisco the problem was integrating smaller scale artists — singers, directors and designers - with great artists and with grand opera scale choral, orchestral and technical resources.