25 Nov 2008
La Bohème in San Francisco
The show curtain was an illustration of the typical Parisian skyline.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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.