• In-the-loge

    In the Loge, 1878
    Mary Stevenson Cassatt, American, 1844–1926
    81.28 x 66.04 cm (32 x 26 in.)
    Oil on canvas
    Museum of Fine Arts, Boston

    I've never thought too much of Impressionism in general or Cassatt in particular, but this opera painting did catch my attention on a recent jaunt over to Boston. The painting compares favorably to Renoir's La Loge (1874), the woman in Cassatt's painting seems more self-possessed, her look less blank than the smiling one in Renoir. Of course, I'm partial, everyone knows I do like a nice hat.

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  • The firms Arkitema and Arkþing are to create the new opera house for Icelandic Opera near the Kópavogskirkja on Borgarholt hill. Based on folklore about the home of the elves, the designs can be seen on the Arkþing site (under Projects, Culture & Sports, Operahouse in Kópavogur).

    Press Release (In Icelandic) | BD Article (In English) | Icelandic Opera's Official Site

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  • January 3- March 23 2009: Madama Butterfly
    January 10- February 14 2009: Cavalleria / Pagliacci
    January 22- April 30 2009: Die Zauberflöte
    March 3-April 29: Lady Macbeth of Mtsensk
    March 12-26 2009: Werther
    April 14-September 9 2009: I Capuleti e i Montecchi
    May 12-31 2009: A Little Night Music
    June 27- July 18 2009: Dido & Aeneas / Acis & Galatea
    July 7- December 10 2009: Aida
    July 16- August 13 2009: Manon Lescaut
    July 30- August 29 2009: Fidelio
    August 27- October 31 2009: The Mikado
    September 17- December 12 2009: Così fan tutte
    October 15-30 2009: Peter Grimes
    December 2-12 2009: A Streetcar Named Desire

    Official Site | Press Release [PDF]

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  • Official Site | 2008 Performances

    Merola Grand Finale Reviews: The Opera Tattler | Civic Center | San Francisco Classical Voice | San Francisco Chronicle

    Don Giovanni: The Opera Tattler | Civic Center | Oboe Insight | Not For Fun Only | SFist | San Francisco Chronicle

    Albert Herring: The Opera Tattler | The Rehearsal Studio | SFist | San Francisco Classical Voice | San Francisco Chronicle

    Schwabacher Summer Concert: The Opera Tattler | SFist

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  • Soprano Elza van den Heever and tenor Michael Weinius won Seattle Opera's second International Wagner Competition, held on August 16, 2008. Elza is an alumna of the Merola Program and a former Adler Fellow. The judges included Hans-Joachim Frey, Ben Heppner, Peter Kazaras, Pamela Rosenberg, Stephen Wadsworth, and Eva Wagner-Pasquier.

    Press Release [PDF] | Official Site

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  • Merola3  * Notes *
    This year's Merola Opera Program ended twelve weeks of training with a Grand Finale last night at the War Memorial Opera House. The performance was staged simply, using a set that included a couple of steps to a rickety parquet floor and a pair of stage right doors. The costumes were standard recital fare, tuxedos for the men and evening gowns for the women. Joel Revzen conducted the San Francisco Opera Orchestra to good effect, everyone sounded in tune and there were only a few moments when the singers were overwhelmed. There were also some synchronization issues during the trio "Una bella serenata" from Così fan tutte and "Hmm, hmm, hmm, hmm" from Die Zauberflöte. The singers and orchestra were just slightly off in these cases, in the former it was probably just nerves as it was the first number, and in the latter perhaps it was because of the stage directions were somewhat complicated. Mozart provoked the strangest staging of the evening, for Così, Barbie dolls were abused and for Die Zauberflöte, a pistol was produced as the flute, and a bag of cocaine stood for the bells. The most laughter, however, erupted from tenor David Lomelí's disrobing during "Un dì se ben rammentomi."

    The young singers have improved noticeably since the Auditions for the General Director in June. There were only a handful of problems. Adam Cioffari was slightly quiet as Guglielmo, but was audible. Ellen Wieser was shrill as Inés, though as Gilda, her voice blended very nicely with YoungJoo An's in "Un dì se ben rammentomi." Rena Harms, who was so incredible as Donna Elvira in the Merola production of Don Giovanni, did not sing the First Lady as gorgeously. She cracked, perhaps because of the fake (I imagine, anyway) cigarette she was smoking. Ben Wager was a bit difficult to hear at one point during Luisa Miller's "Tu puniscimi, O Signore," though he was extremely menacing as Wurm. Wager was overwhelmed by the orchestra, and Leah Crocetto's voice was, at times, a good deal louder than his. However, Wager sang Golaud well during "Mes longs cheveux descendent" from Pelléas et Mélisande. Both Joélle Harvey (Mélisande) and Eugene Chan (Pelléas) sounded wonderful during this piece as well, Harvey's flexible voice is clear and light, Chan's high baritone is sweet.

    In the first half, standouts included the duets "Ah, mon courage m'abandonne" from Werther and "Nedda! Silvio! A quest' ora" from Pagliacci. Renée Tatum and Nathaniel Peake were well-matched as Charlotte and Werther in the former. Amanda Majeski was had a lovely pure tone as Nedda, and Austin Kness was heartbreaking as Silvio. In the second half, Majeski was haunting as Vanessa in "At last I've found you," and James Benjamin Rodgers was a very fine Anatol. David Lomelí was an outstanding Duke of Mantua in the aforementioned "Un dì se ben rammentomi" from Rigoletto. Though, as mentioned before, quite loud, I was most impressed by the versatile voice of Leah Crocetto, hers is one that is already a force of nature. Her Luisa was strong and resonant, and her performance earned her the longest ovation of the evening.

    * Tattling *
    The audience was ill-behaved in the Grand Tier, everyone around me spoke during the music, assuring each other about the quality of the singers. Watch alarms and various electronic noises were noted. After the intermission I made my way to the top of the balcony and listened to the rest of the performance in peace, as there was absolutely no one near me.

    My foray into the world of the press involved some antics. I appeared at the appointed Grove Street entrance and waited a good long time only to be told my tickets were at the box office. Then I waited in that enormous line for several minutes and was told I should go to the Grove Street entrance as my name was not with the box office. I had to make a fuss, something I do not enjoy, especially since I know all the people at the box office by sight and would rather be on good terms with them. But I did get in without having to wait in any more lines and milled around the press room. Not knowing exactly what to do with myself there, I was advised to eat cheese, and it certainly was pleasant enough.

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  • WhatTheySeemLogoWhite
      * Notes *

    Interlochen Academy of the Arts graduate Red Bennett's opera What They Seem premiered yesterday evening at the Mission Cultural Center in San Francisco. The jaunty music was directed smoothly by Cole Thomason-Redus, and the six musicians in the orchestra all sounded fine. What could be done with only oboe, piano, cello, trombone, percussion, and keyboards was impressive. Likewise, the singers were all talented. Soprano Raiña Simons sounded clear and warm as the Cat, and also acted her role of the Saint perfectly well. Soprano Krista Wigle had good timing as the Businessman. Kindra Scharich was an expressive and charming Grocer. Ross Halper's tenor is reedy but pleasant, and he was cute as the Hairdresser. Nathan Marken (Animal Seller) was slightly thin-toned, but the baritone looked the part. I found Kimarie Torre the most difficult to understand as far as diction was concerned, but her Fortune Teller was appropriately wild-eyed. Kristen Brown was grand as the Mayor, her volume was good. Bass-baritone Robert J. Cowan (the Butcher) has a lovely timbre. The children, Bola Origunwa (O'stella) and Yomi Origunwa (O'stello), did not have much singing, but were disarming.

    The set, designed by Gilbert Johnson, was sweetly threadbare and not overly complex. There were a few times when the players could be seen exiting and entering, but otherwise the Michael Mohammed's direction seemed to go well. Costumes (Meg Newman) and hats (Krista Fatka) looked nicely-made. It was clearly an earnest effort on all parties. The weakest part was the libretto, written by the 18-year old composer and Sherry Boschert, a journalist and novelist. The plot was transparent, lacking both charm and substance. Also, I did not understand why the Businessman was called such, he was interested in observing and interpreting, as he sang many times. He seemed much more like a scientist or academic than a businessman. Obviously, there are plenty of great operas with utterly ridiculous story-lines. However, it is with good reason that most operas, even new ones, are based on extant work.

    * Tattling *
    There were no empty seats in the house, though most everyone there seemed to know someone in the cast and crew, not to mention one another. As such, the audience was well-behaved and attentive. No cellular phones or watch alarms were heard.

    There was noise coming from the upstairs, people could be heard walking around. Perhaps they were attending the opening of "Mes LatinoAmericano."

    Official Site | Bloomberg Review

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  • Welsh National Opera is targeting young men between the ages of 14 and 25 with a film entitled Surf Tailz. Baritone and surfer Craig Yates is working on the project and one can read about it on WNO's official site. The South Wales Echo has a rather misleadingly titled article on the endeavor as well, "Baywatch: The Opera" this is not. Firstly, Baywatch is about lifeguards (at least, that's my understanding), not surfing. Second, the project at hand is not an opera, it is a film produced by an opera company. Lastly, Porthcawl is hardly Los Angeles.

    On a related and somewhat more serious note, the company has a new music director, Lothar Koenigs, who started this month.

    Press Release on Lothar Koenigs | Craig Yates' Blog about Surf Tailz

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  • George Steel is assuming the post of general director at the Dallas Opera on October 1st. Steel has been the executive director at Columbia University's Miller Theatre since 1997.

    Press Release [PDF] | Biography

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  • Maldjian-sauerland  * Notes *
    Festival Opera's delightful production of A Midsummer Night's Dream opened last Saturday in Walnut Creek. Michael Morgan and Mark Foeringer did a fine job with the direction, the choreography never lagged and fit the music well. The sinuous dancing was not perfectly synchronized, but was enchanting nonetheless. The flying effects used for Puck were perfect for the role, and could have stolen the whole show had the singing and acting been weak. Peter Crompton's set is simple but charming, consisting of large upstage constellation map, many pieces of cloth with the same print hanging from the ceiling, and various platforms again with this design on them. The costumes, by Susanna Douthit, dated from the early seventies. The fairies looked like they came off of the playa in their wings, sequins, and shiny tights. Denise Gutierrez complimented this with glittery makeup and a few candy-colored wigs. I was reminded of the Om Shanti Om, perhaps only because that was the last movie I've seen set in the seventies. It was a bit funny when the singers made reference to Athens, as they were all dolled up for the disco, but this was not terribly distracting.

    The orchestra sounded fine to me, but I do not know this particular opera at all, and the music occasionally made my joints hurt. There were a few moments when the singers and orchestra were not together, but these were mostly in Act I. The chorus sang nicely, and the four soloists were all solid. Katie Behnke was exceedingly bell-like as Mustardseed.

    The rest of the rather large cast was fairly good. Igor Vieira and Lauren Groff were well-matched vocally in the roles of Theseus and Hippolyta. Vieira was overwhelmed by the orchestra, but he ended well. Groff certainly looked like an Amazonian queen, even in a beaded-fringe gown. The rustics were completely wonderful, the voices of Joshua Elder (Starveling), Trey Costerisan (Snout), John Bischoff (Snug), Jonathan Smucker (Flute), John Minágro (Quince), and Kirk Eichelberger (Bottom) blended nicely and the comic timing was perfect. Bischoff was particularly resonant, he drew out his words well. Eichelberger was again rather loud, as he was for Il Trovatore, but this brashness suited the role of Bottom better than Ferrando. His acting was impeccable.

    The four lovers were not evenly matched, Stacey Cornell was quieter as Helena than Nikolas Nackley as Demetrius and Jessica Mariko Deardorff was louder as Hermia than Jorge Garza as Lysander. Cornell was shrill and shaky at the beginning but had some lovely moments later on. The role of Hermia sat better in Deardorff's voice than Ines (Il Trovatore).

    I was most disappointed by Willam Sauerland as Oberon. His voice is sweet and pleasingly girlish, but he was quiet. His voice cracked during Act II, but besides this his transitions between head voice and chest voice were smooth. Thankfully, Ani Maldjian was a splendid Tytania. Not only did she somehow look gorgeous in a fuchsia sequined tube-top, she sounded lucid and ethereal.

    * Tattling *
    For the second performance, the house had a few empty seats, so I assume getting tickets, should you want them, will not be a problem. The audience was rude, there was much talking and a loud cellular phone rang during Act II on the right aisle of the center section, sixth row back.

    I had the misfortune of being in front of two very noisy men of a certain age, who began the evening by exclaiming about all the grey-hair in the audience. I did try to hush them when they spoke during the music, but they could not be quiet. Apparently they were friends of John Minágro, and one of them kept pointing him out every time he appeared on stage. I learned that Minágro made the sword used in the production, as this was stated more than once.

    * Reviews *
    Civic Center | The Reverberate Hills | Saturday Matinee | Contra Costa Times | San Francisco Classical Voice | San Francisco Chronicle

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