Archive for the ‘Opera’ Category
Opera sub categories : Wagner
Naxos in Ms. Zambello’s staging appears to be a fictional town in upstate New York. Theodore Dreiser’s grim tale, An American Tragedy is set in the Greek-name Lycurgus (ironically, the lawgiver of Sparta) N.Y., another fabrication making one believe that upstate New York might be perceived as a birthplace of tragedy, pace Nietszche. Tobias Picker’s original operatic adaption of Dreiser’s novel was commissioned by the Metropolitan Opera and premiered in 2005. Francesca Zambello directed this version which was fairly well received. Since then, both Mr. Picker and librettist Gene Scheer have been steadily revising the original, mostly by broad-stroke cutting. In celebration of Mr. Picker’s sixtieth birthday, this latest edition premieres at Glimmerglass this season, again under the aegis of Ms. Zambello and directed by Peter Kazaras. The essay in the program provided by Thomas May give strong hints as to the intentions of the current revision. Giving us these clues is sensible since many of us (myself included) never saw the longer 2005 production. Dreiser’s tale is based on a lurid real-life murder in 1906, People v. Gillette. Chester Gillette (Clyde Griffiths in Dreiser’s novel), a worker in a skirt factory in Cortland, N.Y. (about two hours west of Glimmerglass), killed another employee, Grace Brown (Roberta Alden in the novel), who he had impregnated.
Whether by intention or not, each of the three brilliant productions at Glimmerglass this summer feature profligate cads driving themselves and the women they profess to love to suicide, murder, and, in one case a “transformation” for the better. As well, each opera represented the finalizing of a revisionary work in progress by composer […]
Crowned: Opera Odyssey’s June Festival, plus Guerilla Opera and Commonwealth Lyric Theater, and OperaHub
For a city that hasn’t seemed very welcoming to opera, Boston has had a lot of opera going on lately. Since Opera Boston closed on January 1, 2012, there’s been only one major opera company left, the Boston Lyric. But last fall, Gil Rose, former music director of Opera Boston, returned as the head of an important new company, Odyssey Opera, leading a rare performance in concert of Wagner’s first opera, the epic Rienzi. It was a critical success, and now, at the intimate BU Theatre, Odyssey has let its other shoe drop with two programs of fully staged smaller-scale but equally unusual repertoire: Verdi’s second opera, Un giorno di regno (King for a Day), the first of his only two comedies and one of the biggest flops of his entire career; and a double bill of Mascagni’s even rarer “lyric scene,” Zanetto, last seen in Boston in 1902, when Mascagni himself brought it on an American tour (and was thrown into the Charles Street jail for not paying his company), and Ermanno Wolf-Ferrari’s 1910 farce, Il segreto di Susanna (Susanna’s “secret” being her unladylike addiction to cigarettes).
In the affair over John Adams’ opera, The Death of Klinghoffer, the participants have succeeded in making themselves look very bad indeed, above all Abe Foxman of the Jewish Anti-Defamation League and whatever kindred organizations which have not been specified in the reports—with Peter Gelb straggling obsequiously behind them. It is appalling that a special interest group can dictate what a major arts institution can present to the public, and that the chief officer of the institution should accept it so easily. Peter Gelb stated that the cancellation of the HD transmission was necessary to save the production itself at the Metropolitan Opera—which implies that the revered old house operates under the external control of groups like the ADL, which likes to consort with governments on a quasi-equal footing, but which exercises no legal power equivalent to that of a national government, certainly not that of the United States or Israel.
Handling Handel: Mark Morris’ Acis and Galatea, plus more Handel, Monteverdi, BLO’s I Puritani, the Met’s Cenerentola, and other adventures in opera-land
The Mark Morris Dance Group was back in Boston with the East Coast premiere of a major new work, Handel’s ravishing pastoral opera Acis and Galatea, under the aegis of the Celebrity Series of Boston, one of the co-commissioners. I loved it. Or to put it more accurately, I’m in love with it, and saw three of its four performances at the Shubert Theatre. Morris has now staged several complete operas and one Handel oratorio. At least two of these are generally regarded as his masterpieces: Purcell’s one-act opera, Dido and Aeneas (1989), in which all the singers are offstage and the dancers play the main characters; and Handel’s L’Allegro,il Penseroso ed il Moderato (1988), in which the singers are also offstage, and there are no characters. But in Rameau’s delectable Platée (1997) and in Morris’s productions of Gluck’s Orfeo ed Euridice (Handel and Haydn Society, 1996; the Metropolitan Opera, 2007), singers played the leading roles and appeared on stage along with the dancers.
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.