Richard Sasanow - Page 4

One of the troubles of being a major institution like the Met is that when they produce a new production of a major opera--and Verdi’s UN BALLO IN MASCHERA, which opened in revival the other night, certainly falls into that category--it’s an expensive undertaking. It's true that sometimes a production can be pulled out of its death tumble, with a new cast or simply time making the absolutely awful suddenly make sense. In the case of the current run of the opera, with Angela Meade, Charles Castronovo and Quinn Kelsey heading the cast, even good and sometimes inspired singing can’t save the day. Alden’s take is simply too laden with concept for it to breathe.

The Met’s production of NABUCCO from Elijah Moshinsky may date back to 2001 but its style hearkens back even further--a fancy, old-fashioned unit set that uses the house’s big turntable--and it’s a whale of a show, design-wise, thanks to John Napier’s scenic design.

According to creator and star tenor Karim Sulayman, UNHOLY WARS, a 70-minute opera pastiche that made its debut on Saturday at Philadelphia Opera’s O23 Festival, “stitches together a collection of baroque music centered around the Middle East and the Crusades, examining the separation of the human race based on creed and color.” The result was a creative multi-visual/musical work with dance, drawing heavily on Monteverdi’s IL COMBATTIMENTO DI TANCREDI E CLORINDA, supplemented by Baroque arias and modern electronic music.

It’s rather surprising, really, for the audience to embrace a contemporary piece like DEAD MAN WALKING, no matter how easily it falls upon the ears, considering the subject matter. In this Ivo van Hove production, it starts with a rape and double murder in a rather graphic piece of film, the use of video being one of van Hove’s trademarks. It ends with a death by lethal injection, also graphically shown in live video.

When composer Rene Orth came across the story of investigative reporter Nellie Bly’s expose of the abuse of women at an asylum in New York at the end of the 19th century, she immediately knew that “this story needed to be told as an opera.” She was right. The result of her efforts, with the first-rate creative team including librettist Hannah Moscovitch, is 10 DAYS IN A MADHOUSE, a 90-minute work that opened Opera Philadelphia’s festival (this year, called O23) with its world premiere at the Wilma Theatre.

Another year, another Met season without Jonas Kaufmann. Sigh. What’s a music lover to do? His current set of performances is at the Park Avenue Armory’s Drill Hall--in a staged production by Claud Guth, commissioned by the Armory, of Schubert lieder, under the title DOPPELGANGER. It's an evening of autumnal chill through words and music that were “anxious and heavy,” through a heart “utterly alone.”

The Metropolitan Opera somehow managed to upstage itself on Thursday, when it offered audiences a spectacular recital by Norwegian soprano Lisa Davidsen, with her excellent musical partner James Baillieu, on piano, 12 days before the company’s official opening night (the Jake Heggie-Terrence McNally DEAD MAN WALKING on the 26th). It’ll be a hard act to follow.

Nearly a decade ago, when composer Paul Moravec and librettist Mark Campbell started work on an operatic version of Stephen King’s novel “The Shining” for the Minnesota Opera they were dealing with one of the most popular psychological thrillers of the 20th century—as well as one of the scarier movies of the ‘70s. It's having its East Coast premiere at Atlanta Opera, co-presented by the Alliance Theatre.

Donizetti’s so-called “Tudor Trilogy”--ANNA BOLENA, MARIA STUARDA and ROBERTO DEVEREUX (aka, “the one about Elizabeth I”)--suddenly has some competition on British history in opera: Camille Saint-Saens' HENRI VIII.

The famed playwright and wit George S. Kaufman once said, “Satire is what closes on Saturday night.” One can only imagine what Kaufman--whose many credits include YOU CAN’T TAKE IT WITH YOU, as well as the source of Sondheim’s MERRILY WE ROLL ALONG, which is circling Broadway for a return this fall--would have had to say about satiric operas. CRISPINO E LA COMARE (CRISPINO AND THE FAIRY GODMOTHER), a lively and lightweight 1850 comic piece that was was happily rescued from obscurity this week by Will Crutchfield's Teatro Nuovo.

Usually, when long-neglected works somehow find their way to the forefront, we find there’s a pretty good reason for the lack of interest. Happily for us, this does not apply to Donizetti’s POLIUTO, which Will Crutchfield’s Teatro Nuovo performed last weekend at Montclair State’s Kasser Theatre and on July 19th at Jazz from Lincoln Center’s Rose Theatre. It’s filled with wonderful music that the current performers--particularly the suave tenor of Argentine Santiago Ballerini in the title role and the potent coloratura soprano Chelsea Lehnea--deliver with aplomb.

As I sat down to write about the delightful recent performance I heard of Rossini’s IL TURCO IN ITALIA at Madrid’s Teatro Real, with soprano Lisette Ororpesa in a charming new production by Laurence Pelly, I went to Spotify to see what kind of recordings were around. I was surprised to find more than a dozen of them--headlining everyone from Callas (in several of them) to Bartoli, with Sills, Jo, Caballe, Sciuti and some less familiar singers.

As I sat down to write about the delightful recent performance I heard of Rossini’s IL TURCO IN ITALIA at Madrid’s Teatro Real, with soprano Lisette Ororpesa in a charming new production by Laurence Pelly, I went to Spotify to see what kind of recordings were around. I was surprised to find more than a dozen of them--headlining everyone from Callas (in several of them) to Bartoli, with Sills, Jo, Caballe, Sciuti and some less familiar singers.

Of all the theatre directors that the Met has marshalled into its forces, Simon McBurney--who brought his version of Mozart’s DIE ZAUBERFLOTE (THE MAGIC FLUTE) to the Met on Friday in his house debut--may be the most successful in melding music and theatre, storytelling and visual elements.

IL TABARRO has a special relationship to New York, since it’s the only Puccini to premiere here at the Metropolitan, in 1918. While it’s only the first third of the trio of short operas that go by the title IL TRITTICO, no one attending the other night’s performance by On Site Opera in partnership with the South Street Seaport Museum should have felt short-changed. It definitely felt like an evening’s worth of opera--and a fine one.

While I’ve always been bothered by the cruelties and misogyny of the main character, Mozart’s DON GIOVANNI has (musically) been my favorite of the composer’s operas, though either casting or design has been a regular issue in bringing off the work at its best. Happily, the Met’s new production by Belgian provocateur Ivo van Hove is a success for me, with a cast filled with wonderful singers--and the Met orchestra and chorus sounding great under debutante Nathalie Stutzmann.

In an opera filled with gorgeous music, it’s hard to beat the end of LA BOHEME’s Act One, with the trifecta of arias about young love. If only tragedy and sadness weren’t going to catch up with the central pair, Mimi and Rodolfo, and their friends, in the succeeding three “tales from the Bohemian life” (as the work’s source material was called). But wait. Director Yuval Sharon to the rescue, with a version that just finished a successful run at Opera Philadelphia, playing out the story in reverse.

Maybe the Met should stop thinking about THE MERRY WIDOW and DIE FLEDERMAUS when it takes a turn at operetta—let alone the bevy of comic operas by Rossini and Donizetti that are given more than their due on a regular basis—and let Gilbert & Sullivan (G&S) have a turn at bat.

There are no supernatural women arriving on horseback to escort slain warriors to the afterlife--just a trio of mermaids, a couple of giants and a loveless dwarf, along with a bunch of gods, demi-gods and grotesque humans in Richard Wagner’s DAS RHEINGOLD, the first part of the composer’s Ring cycle (officially DER RING DES NIBELUNGEN). Saturday night’s audience stayed to cheer the opening of General and Artistic Director Tomer Zvulun’s production after nearly three intermission-less hours.

While there’s always a great deal of talk about where the next generation of operagoers is coming from, there’s much less hand-wringing about the sources of the new generation of singers. After hearing the Eric and Dominique Laffont Competition’s Grand Finals Concert at the Met on Sunday afternoon, we could plainly hear that the future of the Met roster is alive and well and waiting to take center stage.