The Opera Tattler

Reviews of Performances and their Audiences

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  • Karita Mattila at SF Performances

      Karita-Mattila-SFP * Notes * 
    The third recital of the 2011-2012 vocal series at San Francisco Performances featured soprano Karita Mattila (pictured left, photograph by Lauri Eriksson) accompanied by pianist Martin Katz. Yesterday evening's performance started with Poulenc's Banalités, a set of five songs using texts by Apollinaire. The pieces did not readily relate to one another. Mattila sang them with a sense of humor, "Hôtel" and "Voyage à Paris" were particularly charming. Next we heard Debussy's Cinq poèmes de Baudelaire, which were a good deal more disturbing, especially the fourth one, "Recueillement." Mattila has a strong, beautifully supported voice and was complemented by Katz's tasteful playing. The singer exudes a serene confidence and was completely unruffled by the various small snags of the performance, which included sheet music forgotten backstage, untimely applause, and electronic noise.

    After the intermission came Neljä laulua unesta (Four Dream Songs) from Sallinen. It was exciting to hear Mattila sing in her native language. The pieces were rather dark and strange. The program ended with five songs in German by Joseph Marx. Mattila coughed before "Waldseligkeit" and even after singing the first half, but one was never in doubt that her sound would still be perfectly gorgeous. Katz was able to show more bravura in these songs. The first encore was a highly idiosyncratic version of "I Could Have Danced All Night," complete with dancing. The second encore was a Finnish folk song, "Minun kultani kaunis on," arranged by Ralf Gothóni. Mattila ended the evening by singing the last verse of "Tonight" without accompaniment.

    * Tattling * 
    The audience was rather quiet, no talking was noted. Unfortunately, someone's mobile phone rang at the end of "Le jet d'eau," while Mattila sang the very last line.

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  • Shostakovich’s Prologue to Orango

    Shostakovich-orango* Notes *
    Over the weekend Esa-Pekka Salonen conducted Los Angeles Philharmonic in the world premiere of Shostakovich's Prologue to Orango. The piece was orchestrated by Gerard McBurney, based on surviving piano sketches. There was relatively little singing in the 40 minutes of music, as the 11 parts included an overture and three dances. Some of the singers were difficult to hear. The Entertainer, bass-baritone Ryan McKinny, blended into the sound of the large orchestra. Timur Bekbosunov (Paul Mâche) sang to Salonen, instead of to us. While humorous, this did not serve the music well. Yulia Van Doren was convincing as Susanna, and her vibrato seemed appropriate and controlled. Michael Fabiano sounded sweet and sufficiently loud as the Zoologist. Eugene Brancoveanu gave a committed performance in the title role. Though he sang rather little, it was obvious how beautiful his voice is.

    The concepts behind Peter Sellars' staging looked like they had been pulled together in less than five minutes. We were shown images of Occupy Wall Street, a Rhesus monkey with pins in its skull, fighter planes, citrus fruits, and so on and so forth. Members of the chorus (the Los Angeles Master Chorale) were dressed in orange, disregarding the fact that the words orange and orangutan are not related. The fruit (and color) are from Sanskrit via Arabic and the first half of the animal name comes from Malay for "man." There were moments of the production that were interesting, especially when Orango jumps from his pedestal and attacks Susanna, who was seated in the first row of the Orchestra Level. Overall the proceedings were not cohesive, and a concert version of the work would have been less insulting to the intelligence of even this audience.

    The second half of the evening was devoted to Shostakovich's Symphony No. 4. Salonen made sharp distinctions between the parts of the piece, but kept the music moving. The differences in tempi and volume were all clear. The orchestra did sound a bit muddy, but there were no egregious errors. The symphony ended gorgeously, melting into silence.

    * Tattling * 
    The audience in the terrace was appallingly ill-behaved. Of 10 people in our immediate vicinity, 9 spoke during the music. More than one person fell asleep during the second piece. My companion tapped the knee of someone snoring in Row P to wake him up, and the offending person was irate, asking the person with him repeatedly if he had been making noise. After the performance there was rather ridiculous confrontation between awakener and woken.

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  • Satyagraha at the Met

    Met-satyagraha-richard-croft* Notes * 
    The latest revival of Satyagraha closed Thursday night at the Metropolitan Opera. Phelim McDermott's tasteful production coheres beautifully: the set, lighting, video projections, and direction all come together to intensify the effect of the music. The transitions were skillfully handled, the projections never looked trite, and the choreography always seemed motivated and purposeful. An entire world was evoked, without the least bit of mawkishness. The stilt walking, elaborate puppetry, and tableaux were delightful, never competing with the music itself.

    Both the orchestra and chorus achieved a nearly perfect transparency and were impressively synchronized. Most of the singing was also quite strong, including vocal fine contributions Alfred Walker (Parsi Rustomji) and Kim Josephson (Mr. Kallenbach). Rachelle Durkin's notes soared. Molly Fillmore and Maria Zifchak blended their voices nicely in their duet. Only Mary Phillips sounded shrill as Mrs. Alexander. As Gandhi, Richard Croft (pictured above, photograph by Ken Howard) sounded exceedingly lovely, especially in his last aria at the end of the opera.

    * Tattling * 
    The audience for Philip Glass tends to be rather distinct from the one typically seen at the Met. Most audience members seemed engrossed in the performance, but unfortunately, there was a lot of electronic noise. Cellular telephones rang in every act. Oddly, no watch alarms were heard. As always, the Met audience was vocal about condemning other people's poor behavior. A woman with her illuminated mobile screen was asked twice to turn it off, as was a person whose phone would not stop ringing.

    A woman rearranged her purse at the back of a balcony aisle. When the lights went down, she was unable to find her seat, and asked me, at full volume during the music, to help her. I could only shrug in dismay, and she took an empty seat in Row K.

    Glass himself was present for the bows, before joining the Occupy Wall Street protesters just outside of Lincoln Center Plaza.

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  • Rodelinda at the Met

    Met-rodelinda-2011* Notes *
    A revival of Rodelinda (Act II pictured left, photograph by Ken Howard) is currently underway at the Metropolitan Opera. Since I saw this opera in 2006, I opted to hear this at a score desk on Wednesday. The acoustics are quite flattering to voices at Score Desk 3, and everyone could be easily heard. The orchestra sounded neat and tidy under Harry Bicket, everything seemed in place and rather angular. The chorus was appealing in the last act and sang with clarity

    The singing was fairly lackluster. Joseph Kaiser (Grimoaldo) sang with much vibrato. Shenyang's Garibaldo had richness but was imprecise. Iestyn Davies showed promise as Unulfo, his voice is bright and pretty. Andreas Scholl (Bertarido) was slightly quiet, but also has a sweet, beautiful voice. There was "a small technical difficulty" with the set before Scholl's "Vivi tiranno," which unfortunately interrupted the flow of the music.

    As Eduige, Stephanie Blythe gave a strong, steely performance. Renée Fleming seemed more committed to this title role than her recent turn as Lucrezia Borgia in San Francisco. Though her vocal line had a fine legato, her intonation is lacking and her coloratura is not impressive. Fleming did not follow any of the da capo or dal segno markings in Act I.

    * Tattling *
    Besides the aforementioned mishap in the last scene, there seemed to be other struggles with the set. The first intermission ran even longer than the allotted 40 minutes, as putting together that elaborate Baroque library in Act II must present a significant challenge. The cues to the lighting booth were loud, and as the music is not, they were all too audible.

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  • 2012 Adler Fellows

    F--2011-Adler-FellowsThe incoming 2012 Adler Fellows are Marina Boudart Harris, Laura Krumm, Renée Rapier, Joo Won Kang, and Robert Mollicone. They join current Adlers (pictured left, photograph by Scott Wall) Nadine Sierra, Brian Jadge, Ao Li, Ryan Kuster, and David Hanlon. Outgoing 2011 Adler Fellows are sopranos Leah Crocetto, Susannah Biller, Sara Gartland; mezzo-soprano Maya Lahyani; countertenor Ryan Belongie; tenor Daniel Montenegro; and apprentice coach Tamara Sanikidze.

    Press Release | Official Site

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  • Faust at the Met

    Met-faust-rene-pape* Notes * 
    A new production of Faust, directed by Des McAnuff, opened at the Metropolitan Opera last night. Robert Brill’s set is pleasingly spare, and the twin spiral staircases were put to cunning use. The transitions from scene to scene were clean and simple, aided by lighting designer Peter Mumford and video designer Sean Nieuwenhuis. Some of the images used were rather silly, especially the enormous red roses on the rear projection screen in Act III. The large projections of the characters heads were not flattering. Nonetheless, the moving clouds and green flames were effective in transforming the space. The costumes, by Paul Tazewell, did not appear to have a consistency to them as far as period is concerned. For instance, the chorus in Act II looked like they had wandered in from some entirely different opera. Kelly Devine’s choreography was entertaining, people in lab coats spinning about and the dancing during “Le veau d’or” were particularly amusing. Overall, though it seemed McAnuff had some good ideas, the production simply seemed somewhat scattered and random.

    The orchestra sounded lovely under Yannick Nézet-Séguin, who kept the tempi moving and the dynamics restrained. There were a few chaotic moments, but for the most part, the playing and singing were synchronized. The chorus was occasionally a hair behind the orchestra in Act II, but “Déposons les armes” and “Sauvée! Christ est ressuscité” were both sung solidly.

    The principal cast was uneven. Michèle Losier (Siébel) sounded a bit raw, but she does have a nice brightness to her voice. Russell Braun was a serviceable Valentin, though I believe he and the flute were not exactly together in his first aria. Marina Poplavskaya did not impress as Marguerite, her high notes are ugly and her singing has no line to it, as her breath support is lacking. She does have a pleasant darkness to her voice at least. René Pape (pictured above, photograph by Ken Howard) was a convincing Méphistophélès, he moves well and the choreography suited him. Pape has a beautiful voice with a great deal of warmth. Jonas Kaufmann made for a fine, though perhaps dull, Faust. He has a gorgeous legato and perfect control. The baritonal qualities of his pretty voice came out in the last act.

    * Tattling * 
    Because of the gala pricing of this event, the tickets were not sold out in the Family Circle, and one was unable to purchase standing room tickets at the back of the house. Nonetheless, a few standees were to be seen there.

    Loud complaints were heard during the music concerning personal effects left in aisles and the kicking of seats. Someone crumpled a plastic bag during Acts II and III. At least two watch alarms were heard at each hour.

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  • LA Opera’s Roméo et Juliette

    Romeo-et-juliette-laopera* Notes *
    Los Angeles Opera's last performance of the year was the matinée of Roméo et Juliette today. The production, directed Ian Judge, ran smoothly. John Gunter's tiered set elegantly framed the space and moved easily. At times the transparency of this set did not serve to create much of an illusion, as we could easily discern entrances and exits of the principal singers. Tim Goodchild's lavish costumes seemed to be of the period that the opera was composed, could have easily been for La Traviata or La bohème.

    The orchestra, under Plácido Domingo, had more lovely, fleet moments than muddy, sluggish ones. The brass was not always clear. Though not always perfectly with the orchestra, the chorus did sound pretty.

    Renée Rapier made a charming LA Opera debut as Stéphano, sounding light and boyish. Vitalij Kowaljow's warm, rich voice served him well as Frere Laurent. Nino Machaidze (Juliette) made a convincing case for love at first sight. Her "Je veux vivre" was a bit harsh, though she has a pretty darkness to her voice and she never sounds strained. Vittorio Grigolo gave a rather physical performance as Roméo. His acting was exaggerated, but could be amusing when appropriate. His voice is pretty and strong throughout his range, from top to bottom.

    * Tattling * 
    As usual, watch alarms and hearing aids were heard during the music. It sounded like something in Row O of the orchestra level was being deflated for most of the second entr'acte.

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  • Gil Shaham plays Brahms at SFS

    Gil Shaham 1 - photo credit Boyd Hagen* Notes * 
    Michael Tilson Thomas is conducting San Francisco Symphony in a program of Wagner and Brahms this week. Yesterday's performance began with the Prelude to Act II of Lohengrin. For some reason, without the rest of the opera, this music struck me as being a bit more absurd than it usually does. The brass sounded clean but the woodwinds bordered on squeaky. The following Concerto in D major for Violin and Orchestra, Opus 77 by Brahms with soloist Gil Shaham (pictured above, photograph by Boyd Hagen) was more nuanced, the dynamics were clear. Shaham seemed very happy to be playing with the orchestra, and listened attentively to each section. His own playing is precise but never cold. The woodwinds were lovely, especially William Bennett's solo at the beginning of the Adagio. The Allegro giocoso, ma non troppo vivace was exactly that, filled with an irrepressible joy but never out of control as far as tempo is concerned.

    The last piece of the evening was also from Brahms, his Quartet No. 1 in G minor for piano and strings, orchestrated by Arnold Schoenberg. The soli from Concertmaster Alexander Barantschik were particularly beautiful. The principal clarinetist also played rather well. The final movement (Rondo alla Zingarese: Presto) was a great deal of fun.

    * Tattling * 
    There was whispering when Gil Shaham was not playing in the violin concerto, and between movements throughout the performance. The person in O 111 hit me (very lightly) in the head with her scarf as she put it on during the ovation for Shaham. I was also elbowed by the person in N 113 as he checked the time on his mobile after the last piece.

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  • Serse Log

    San Francisco Opera's Serse (Michael Sumuel and Heidi Stober pictured in the first image below, Susan Graham and Lisette Oropesa pictured in the second; photographs by Cory Weaver) just finished a run of six performances last Saturday.

    31. October 2011: Opening
    Media Round-Up

    4. November 2011: From Orchestra Standing Room
    Opera Tattler Review

    M--Sumuel-Stober

    8. November 2011: From Balcony Standing Room
    * The audience clapped during the overture as the characters were presented in turn.
    * The playing was clear.
    * Lisette Oropesa got slightly behind during her aria at the end of Act I. Her breath control is incredible and she did not push her high notes.
    * The bridge did not collapse before Elviro's Act II arietta, "Del mio caro baco amabile."

    11. November 2011: Reading the Score
    * The ornamentation is simple and elegant.
    * All the repeats, da capos, and dal segnos are taken.
    * There were a few times where the orchestra was a bit ahead of the singing.
    * A few of Susan Graham's low notes did not float as beautifully as the others, but overall she is just an amazing singer.

    P--Graham-Oropesa

    16. November 2011: From Box V
    * Noted that the President of the San Francisco Opera Association was present.
    * There were a couple transitions in Act I that went so quickly that Maestro Summers held his baton in his mouth as he played harpsichord.
    * Both Heidi Stober and the flautist sounded especially lovely in "Un cenno leggiadretto."
    * The leap that Michael Sumuel before his clicking his heels ("Del mio caro baco amabile") was impressive.
    * The box subscribers in U talked at times during the music. Four women (clearly not subscribers) in Box X were even worse, talking, using cellular phones, and moving to Box Z in the middle of Act II. They did not return for Act III.

    19. November 2011: Orchestra Level Row P Seat 4
    * There was clapping during the overture again, and my companion even joined in out of spite.
    * The person in P 124 was ill-behaved. Not only did his cellular phone ring between the recitative and "Ombra ma fui," he very loudly opened a cough drop during Act I. He did not return for Act III.
    * Another phone rang during Ariodate's Act I aria, from the north side of the Orchestra Level.
    * The couple in R 116 and 118 must have been late, because there was no talking from that area in Act I. They talked for much of the rest of the opera, especially when David Daniels was singing.
    * Though the audience was incredibly obnoxious this evening, the singing and playing was a delight. There was a wonderful ease to the proceedings, and it seemed that everyone was having a great time.

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  • SF Opera’s Turandot (November 2011 Cast)

    Sfopera-turandot-fraccaro-foster* Notes * 
    San Francisco Opera‘s revival of Turandot (Susan Foster and Walter Fraccaro, in Act II pictured left, photograph by D. Ross Cameron/San Francisco Opera) returned for a second time this season with three new cast members and a fresh conductor yesterday evening. There were several synchronization problems between the singing and playing, and one got the sense that there were not enough rehearsals. Nonetheless, San Francisco Opera Resident Conductor Giuseppe Finzi had the orchestra sounding luxuriant and full.

    The Timur, Christian Van Horn, sang with warmth and volume. Leah Crocetto continued to excel in Liù’s “Tu che di gel sei cinta.” Walter Fraccaro had some lovely plaintiveness to his singing, but he did, at times, strain to be heard. He sang “Nessun dorma” in the way we are accustomed, putting a fermata into the last “Vincerò.” Susan Foster was a dynamic Turandot. Her facial expressions read well. Though some of her higher, louder notes were biting, her low notes had richness and were quite pretty.

    * Tattling * 
    I was more discombobulated that usual, and brought a mug of tea into the orchestra level of the War Memorial without thinking. I was roundly scolded twice, and rightfully so. There was a lot of talking during the performance. A couple in L 1 and 3 spoke during the overture and were hushed by a prominent classical music critic. The person in M 5 fell asleep for most of the opera, and snored when Ping, Pang, and Pong sang at the beginning of Act II.

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