The Opera Tattler

Reviews of Performances and their Audiences

Recent posts

  • West Edge Opera L’incoronazione di Poppea Preview


    West-edge-opera-poppea-2013-1* Notes *
    West Edge Opera's L'incoronazione di Poppea opens tonight at the Performing Arts Theater at El Cerrito High School and runs through Sunday. The final dress rehearsal (Act I with Emma McNairy and Bryan Thorsett pictured left, photograph by Jamie Buschbaum) was held on Tuesday. The performances are a collaboration with MusicSources, and conductor Gilbert Martinez leads a small ensemble of period instrumentalists. Taken together, the sound of the two harpsichords, theorbo, triple harp, viola da gamba, and two violins is rather dry and spare. The cuts pare the opera down to a mere two hours, which distills the story into its essentials.

    The singing is consistent all around. The cast includes Christine Brandes (Nerone), Emma McNairy (Poppea), Erin Neff (Ottavia), Tonia D'Amelio Drucilla), Ryan Belongie (Ottone), Bryan Thorsett (Arnalta), and Paul Thompson (Seneca).

    Director Mark Streshinsky offers a production set in 1962, complete with pill box hats and square handbags. Much video projection is employed, which is occasionally dizzying, but keeps the scenes moving without having to physically change the sets.

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  • Seattle Opera’s 2013-2014 Season

    Seattle-opera-space-needleOctober 19- November 2 2013: La fille du régiment
    January 11-25 2014: Rigoletto
    February 22- March 7 2014: The Consul
    May 3-17 2014: Les contes d’Hoffmann

    Seattle Opera announced the 2013-2014 season today. Sarah Coburn and Terri Richter Franklin share the role of Marie in La fille du régiment, while Lawrence Brownlee and Andrew Stenson sing Tonio. William Burden sings Hoffmann, sharing the role with Russell Thomas.

    Official 2013-2014 Site

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  • La fille du régiment at San Diego Opera


    Jkw_regiment012313_390* Notes *     
    San Diego Opera's 2013 season opened with La fille du régiment last night. The production, directed by Emilio Sagi, is set in France during the final days of World War II, rather than in 19th century Swiss Tyrol. This made the sung or spoken text go against the super-titles at times. Otherwise, Sagi seems rather detail oriented, it seemed that all the scenes were rife with activity. The audience appreciated the sight gags and various jokes interpolated in the dialogue.

    The orchestra sounded buoyant under Yves Abel, but were not always with the singers. There were rough moments for the brass. The chorus was entertaining. Carol Vaness was a funny Duchess of Krakenthorp, and even sang a little. Kevin Burdette was a charming Suplice. Ewa Podleś was a perfectly haughty Marquise de Berkenfield and her acting is convincing. Her voice is still beautiful, though not as smooth as in former days. Stephen Costello sang with a great deal of power, his high C's were a bit raw in Act I. Costello's second act aria was plaintive without being cloying. L'úbica Vargicová was cute as Marie, and was impressively awkward in Act II, persuasive embodying the role. Her sound has a slight tendency to be shrill, and is pleasantly fluttery, but has a fullness to it.

    * Tattling * 
    The audience laughed a lot, and kept conversations to a minimum.

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  • Peer Gynt at SFS


    SFSPeerGynt-4668* Notes *     
    This week Michael Tilson Thomas conducts San Francisco Symphony in a multimedia production (actor Ben Huber as Peer Gynt and dancer Janice Lancaster Larsen as Ingrid pictured left, photograph by Kristen Loken) of Peer Gynt. The score included music by Edvard Grieg, Alfred Schnittke, and Robin Holloway. Holloway’s Ocean Voyage was used in Part II Scene 3, and had a Wagnerian feel to it. It did seem disproportionally long compared to the other pieces.

    The playing was slightly off-kilter at times in the first half, especially with some of the choral entrances. Nonetheless, the music gleamed eerily, and the chorus sounded particularly haunting in the second half. The violin and viola soli in Scene 2 of Part I were played beautifully.

    Rose
    Portillo was convincing as Åse, Peer’s mother. Her speaking voice is
    rich and dark. Soprano Joélle Harvey (Solveig) sounded sweet and pure.
    Ben Huber’s Peer Gynt was boyish and sprightly.

    The production, directed and designed by James Darrah, made use of a sculptural scrim placed above the musicians. Adam Laresen’s videos were, for the most part, tasteful and the shape of the scrim rendered the images more abstract. This did not work as well for projections of the human face, which became distorted in a cartoonish fashion. The use of the limited space, given the symphony on stage and the chorus in the Center Terrace, was artful.

    * Tattling * 
    The microphones used were occasionally too loud, and emitted crackles and pops in the middle of Part I.

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  • Renée Fleming at SFS


    Renee-fleming-2012-decca-andrew-eccles* Notes *     
    Last night Michael Tilson Thomas conducted San Francisco Symphony in a program of mostly Debussy with a smattering of Canteloube after the intermission. The evening began with Debussy's textured, fussy ballet, Jeux. This was followed by seven Debussy songs orchestrated by Robin Holloway. Soprano Renée Fleming (pictured left, photograph courtesy of Decca and Andrew Eccles) sounded shimmery and pretty over the orchestra. Occasionally she was a little difficult to hear, but for the most part, this music is well-suited to her voice.

    The three Canteloube songs were all selections from his Chants d'Auvergne. "Malurous qu'o uno fenno" is funny and cute, while "Baïlèro" is more ethereal. The symphony ended with Debussy's La mer, which I find somewhat silly, but was played here with vim and spirit.

    * Tattling * 
    The audience members were fairly silent, at least those seated near the stage.

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  • LA Opera’s 2013-2014 Season


    F1_1_Dorothy-Chandler-PavilionSeptember 21- October 6 2013: Carmen
    October 11-13 2013: Einstein on the Beach
    November 9- December 1 2013: Falstaff
    November 23- December 15 2013: Die Zauberflöte
    February 22- March 16 2014: Billy Budd
    March 15- April 6 2014: Lucia di Lammermoor
    May 17- June 7 2014: Thaïs

    Official Site

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  • Casting Change for the Met’s Les Troyens


    Bryan-hymelAccording to a press release issued today, Bryan Hymel (pictured left, photograph by Dario Acosta) will sing the role of Aeneas in the remaining performances of the Met's Les Troyans this season, replacing Marcello Giordani, who has withdrawn the role from his repertoire. Giordani will return to the Met for Francesca da Rimini in March 2013.

     Production Web Site for Les Troyens | Press Releases

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  • Spoleto Festival USA 2013


    SpoletoMay 24- June 4 2013: Toshio Hosokawa’s Matsukaze
    May 25- June 7 2013: Giordano’s Mese Mariano/ Puccini’s Le Villi

    The schedule for the Spoleto Festival in Charleston was announced today. The opera schedule includes the American premiere of Toshio Hosokawa’s Matsukaze, Giordano’s Mese Mariano, and Puccini’s Le Villi.

    Operas | Official Site

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  • Don Giovanni at the Met


    Don-giovanni-met-2012* Notes * 
    The Michael Grandage production of Don Giovanni (Act II pictured left, photograph by Marty Sohl/Metropolitan Opera) is currently having a first revival at the Metropolitan Opera. The performance last Saturday was good, but not outstanding. Edward Gardner conducted a lively and speedy orchestra. Raymond Aceto could have sounded more commanding as the Commendatore. Ekaterina Siurina’s voice is creamy and sweet, and seemed perfectly fine for Zerlina. Emma Bell’s Donna Elvira was slightly unhinged, but never out of control. Erwin Schrott was an amusingly silly Leporello.

    Charles Castronovo (Don Ottavio) has a dark warmth to his voice, but he struggled with some of the high notes. Susanna Phillips was promising as Donna Anna, her voice is strong, but has a nice bell-like quality. Ildar Abdrazakov, on the other hand, lacked brightness in “Fin ch’han dal vino.” It seemed like the role was just a bit high for Abdrazakov, but he projected well for “Deh vieni alla finestra.”

    The production dates from last year, yet was not particularly fresh or inventive. The large set is monolithic and rumbles when moved. The handling of Don Giovanni’s descent is certainly the most exciting visual moment, as it uses real fire.

    * Tattling *
    At least one cellular phone was heard in the Family Circle during Act I.

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  • SF Opera’s 2013-2014 Season


    Open-house-david-wakelySeptember 6- October 2 2013: Mefistofele
    September 18- October 4 2013: Dolores Claiborne
    October 8- November 2 2013: Falstaff
    October 22- November 15 2013: Der fliegender Holländer
    November 13- December 1 2013: Il barbiere di Siviglia
    June 1- July 2 2014: Show Boat
    June 11- July 13 2014: La Traviata
    June 15- July 9 2014: Madama Butterfly

    David Gockley announced San Francisco Opera‘s 2013-2014 season today. The season starts with Boito’s Mefistofele starring Ildar Abdrazakov, Ramón Vargas, and Patricia Racette. Racette returns for Show Boat and Butterfly in the summer. Dolora Zajick sings the title role in the world premiere of Tobias Picker and J.D. McClatchy’s Dolores Claiborne. Bryn Terfel is Falstaff and Greer Grimsley is the Holländer. Ailyn Perez and Sonya Yoncheva share the role of Violetta in Traviata, with Stephen Costello and Saimir Pirgu as Alfredo.

    Press Release [PDF] | Official Site

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