Richard Sasanow - Page 31

She is a beast to an exceptional degree. She is a Don Juan among women. She is insatiable, unnatural and altogether fairly appalling. (Hotel Manager as Judge POWDER HER FACE, Act II, Scene 6: 1955)

If God is in the details, Christine Jones must certainly be praying at the right church. As the scenic designer for the Metropolitan Opera's new RIGOLETTO, Jones has taken the concept that director Michael Mayer sold to the Met--the '60s Las Vegas of Sinatra's Rat Pack vs. the 16th century Mantua of the original--and flown it to the moon. The result is a smart production that is fun to watch and works visually even when certain directorial details--Rigoletto doesn't live up to his billing as a 'Don Rickles-type'--seem tenuous.

Full disclosure: I'm not fond of updating operas. Most of them simply don't work, because the directors appear to have a disdain for the art form or, at least, for the particular opera they're staging. They assume that trashing 'Un Ballo in Maschera,' 'Don Giovanni' or 'La Sonnambula' is the only way to get anyone under 50 into an opera house. On the other hand, Michael Mayer, the Broadway director best known for his work on the musical 'Spring Awakening,' seems to actually like opera and is making his splendid Metropolitan Opera debut with the bold and brassy new production of Verdi's RIGOLETTO, which opened on January 28.

For the music alone, you can't beat Verdi's IL TROVATORE, with a demanding string of arias that, in the right hands (or voices), can raise the rafters. But when it comes to the action, you must suspend your disbelief at the door--or stay home and watch the Marx Brothers have fun with it in 'A Night at the Opera.'

You have to love the Italians--particularly the Milanese. Where else but at La Scala, the city's temple of dramma lirica, could you find a public so passionate that it complained loudly and bitterly when it was announced that a work by a German (Richard Wagner) was opening the season rather than an opera by a local boy (Giuseppe Verdi)? It's because they care--and it's rather comforting that it can still happen in the 21st century (unless you happen to be on the receiving end of their wrath, of course).

Once upon a midnight dreary (sorry, 'Raven'), Edgar Allan Poe's 'The Fall of the House of Usher' was perhaps the favorite of his short stories adapted as horror films for mid-20th century audiences. These days, 'Usher' may be more familiar as the subject and title of the Philip Glass-Arthur Yorinks opera, which takes a more psychological but nonetheless chilling approach to the story. A new production opens at Chicago Opera Theatre (COT) on February 23, after a premiere at the Long Beach Opera (LBO) on January 27, and marks the start of Andreas Mitisek's tenure as COT's General Director. Not surprisingly, Vienna-born Mitisek, who also conducts the opera, heads both companies.

There's usually not much in the way of fireworks in New York between New Year's and July 4th, but there certainly is no shortage of pyrotechnics in the Met's new Maria Stuarda, which is having its long-overdue premiere in the house. It brings us two sensational performances: American mezzo Joyce DiDonato in the title role, Mary Stuart (Maria), and South African soprano Elza van den Heever as Elizabeth I (Elisabetta).

I missed the debut and broadcast of Andre Previn's operatic setting of Tennessee Williams' "A Streetcar Named Desire" from the San Francisco Opera back in 1998. But I can't say that anything I've read would compel me choose it over a couple of hours with Brando and Leigh on TCM or even a less than stellar [Stella?] production of the play. The fact is, how can Previn's score compare with the music of Williams?

With all the attention being paid to the French Revolution these days, thanks to the film of "Les Miserables," it probably seemed like a good idea for Opera Orchestra of New York to mount ANDREA CHENIER, Giordano's opera about a poet during the downfall of the monarchy in 18th century France. Unfortunately, it didn't take long for the focus to turn from the opera to the performance of the tenor of the day, Roberto Alagna.