Archive for the ‘Opera’ Category
Opera sub categories : Wagner
Let me say first of all, as editor and publisher of New York Arts, how fortunate I consider myself that I was able to spend a few minutes chatting with Jefe Anglesdottir, the renowned Danish architect, familiar to anyone who has so much as glanced through Metropolis or The New York Times’s T Magazine for his malls, museum car parks, and the cutting-edge houses of worship he has designed for what he calls “oddball sects,” for example the Positivist Temple in Częstochowa and the South Beach Rosicrucian Center. In recent years his restless creativity has led him into other art forms, most recently opera production. His first effort in the field is ambitious, nothing less than Wagner’s Ring des Nibelungen for the Launceston Opera in Tasmania. For this interview I flew to Abu Dhabi, where I met with Mr. Anglesdottir in the Al Dar Lounge, said to be the most luxurious VIP lounge in the world.
I was part of the capacity crowd at Boston’s Symphony Hall (March 6) that rose to its collective feet to cheer BSO music director designate Andris Nelson’s first opera with his new orchestral family. Richard Strauss is one of his favorite composers, and at the press conference the day before he announced that among the ten relatively conservative programs he’s doing in his upcoming first season as music director, he’s scheduled two familiar Strauss tone poems, Don Quixote and Ein Heldenleben (A Hero’s Life—“Not about myself,” he joked). The BSO’s only opera next season, one of its few daring choices of repertoire, will be Charles Dutoit leading the first BSO performance of Szymanowski’s King Roger, with Polish baritone Marius Kwiecień repeating his Paris and Santa Fe triumphs in the title role.
A few minutes after the final curtain of Two Boys descended, after composer Nico Muhly received his ovation and joined the cast for their curtain calls, I think I figured out the true nature of this opera. This was the first main stage Metropolitan Opera production of the estimable Met/Lincoln Center Theater New Works program. Two Boys has been in the works for over five years, and had its world premiere at the English National Opera in 2011. The Met has given it serious encouragement and high-end attention. The opera has a libretto—based on an actual crime in 2001, in Manchester, England—by playwright Craig Lucas, a Pulitzer and Tony finalist; was directed by Tony Award-winning Bartlett Sher (South Pacific); and conducted by David Robertson, music- director designate of the Sydney Symphony Orchestra, a musician especially admired for his performances of contemporary music. The intricate production design by Michael Yeargan, which includes a gloomy police office with overhead fluorescent lights, and projections of computer screens and internet chat rooms (by 59 Productions), is certainly not cheap looking (as was Yeargan’s set for one of the Met’s few other premiere’s in recent decades, John Harbison’s The Great Gatsby). Care and money had clearly gone into this production.
An Interview with James Bagwell, Music Director of the Collegiate Chorale, Soon to Lead them in a Concert Performance of Boito’s Mefistofele
The Collegiate Chorale, as part of their famously diverse season, will present a single concert performance of Arrigo Boito’s Mefistofele at Carnegie Hall on November 6, 2013 at 8 pm.
In this concert production, the Collegiate Chorale will feature Eric Owens, one of the most intelligent and impressive singers of the present day, in the role of Mefistofele, with Arturo Chacón-Cruz, as Faust and Julianna Di Giacomo as Margherita. Mefistofele is no less a vehicle for the chorus, stressing as it does large-scale ensembles, with colorful evocations of devilry and witchcraft, angelic hosts, and solid fugues.
I’ve always thought it was a terrible idea to stage opera overtures. The music is there to help set the mood for what’s to follow, to allow you to open the magic casements of your imagination and picture for yourself what’s going to happen later—and for the only time to concentrate completely on the music itself. But these days, it’s almost impossible to see any opera performance that doesn’t have a staged overture, and all too often the staging has nothing to do with the music we’re hearing (last season’s Boston Lyric Opera Flying Dutchman was one of the worst offenders in this regard). But it turns out there’s something even worse than staging an overture, and it happened at the Lyric’s new production of Mozart’s Die Zauberflöte (The Magic Flute, at the Shubert Theatre, closed October 13).
By now the word is that Anna Nicole, by Mark-Antony Turnage and librettist Richard Thomas, is likely to be the New York City Opera’s last production. If the City Opera is dying, it is going out magnificently, with its greatly reduced season setting a model for opera houses in the US and around the world. The 2013-14 season, if it takes place, includes the important contemporary opera discussed here, a 2011 commission by the Royal Opera House at Covent Garden, followed by a long-forgotten setting of Metastasio’s Endimione by Johann Christian Bach, a staged performance of Bartók’s Bluebeard’s Castle, and finally one staple of the standard operatic repertory, Mozart’s Marriage of Figaro, the final instalment in Christopher Alden’s innovative staging of the three Mozart-Da Ponte operas. The schedule is small, but every opera has a vital reason to be in it.
For Bostonians, getting to hear a live performance of Wagner’s ambitious third opera, Rienzi, der Letzte der Tribunen (“Rienzi, the Last of the Tribunes”) was surely a once in a lifetime experience, which is what Odyssey Opera, Boston’s newest opera company, must surely have been counting on. Too bad that even in Wagner’s bicentennial year, and for the landmark inauguration of a new company, only some 600 of Jordan Hall’s 1013 seats were filled (the top ticket price was $200) for Rienzi’s Boston premiere, in a complete concert version. But those present certainly got their money’s worth (and probably so did the local restaurants, which filled up during the two-hour dinner break in between the two parts of the five-hour opera).