Opera Japonica/Archives/Letters from America 2001

Maria Nockin's Letters from America 2001

January

Billy Budd in Seattle: Act II battle scene with the French

Photo by Gary Smith /Seattle Opera

This past January was a fantastic month for opera in the United States. Every major and regional company was in high gear and there were so many offerings that choices were extremely hard to make. The Seattle Opera presented its premiere of Benjamin Britten's epic Billy Budd on the 13th in a production by Francesca Zambello, originally for Covent Garden, staged in Seattle by Christian Rath with sets and costumes by Alison Chitty and dramatic lighting by Alan Burrett. This production, which has also been seen in Houston and Los Angeles, features a simple set involving a raked, elevated rectangle along with a single mast surmounting an open lower deck, with blue panels and swirling mists surrounding it to suggest the sea.

Christopher Maltman as Billy Budd and Jeffrey Wells as Claggart (left), and William Saetre as Red Whiskers (right)

Photo by Gary Smith /Seattle Opera

Christopher Maltman was a convincing Billy, young and handsome with a beautiful lyric voice and an impressive command of the stage. As his nemesis Claggart, Jeffrey Wells was both attractive and terrifying in his characterization of a man driven by self-hate. He was menacing vocally, as well, creating an aural as well as a visual picture of this evil man.

Steven Goldstein as Squeak, Christopher Maltman as Billy Budd and Gabor Andrasy as Dansker

Photo by Gary Smith /Seattle Opera

Peter Kazaras's portrayal of Captain Vere showed him to be full of agonizing doubt, Richard Stillwell gave an excellent interpretation of Mr. Redburn, and the other small parts were well sung and definitively acted. The new Music Director of the Atlanta Symphony, Robert Spano, who had conducted the original presentation of this production at Covent Garden in 1995, successfully brought out both the lush textures and the vivid drama of this modern masterpiece.

Billy Budd: Act II battle scene with the French

Photo by Gary Smith /Seattle Opera

San Diego Opera presented its own brand new production of Mozart's Die Zauberflöte by a team including Michael Hampe, who directed the action and designed the sets in conjunction with Alberto Andreis. The star of the show, however, was Zandra Rhodes whose atypical, whimsical and colorful costume designs were the heart of the visual concept.

In casting this unusual production, General Director, Ian Campbell, engaged some of the finest young Mozartians to be found these days. Jennifer Casey Cabot was a radiant Pamina who sang with gleaming silvery tones. She has a fairly large voice with an attractive bloom as she ascends the scale, and her unalloyed femininity made her perfect for this role. Danish tenor, Johannes Mannov, showed the audience that he has a warm resonant baritone voice capable of a great variety of expression and he proved to be a gifted comedian as well. Although this production was mainly traditional in its treatment of the libretto, the skin color of Monostatos and his minions was changed from black to blue, thus eliminating any racial stereotypes left over from eighteenth century European mentality, and allowing Peter Blanchet to portray him as an expressive comic alien.

The most difficult role in this work is that of the Queen of the Night, whose fiendishly difficult coloratura takes her up to F above high C. Yan-Guang Cui not only put forth some show-stopping pyrotechnics, but she sang her first aria from a silver moon flown high above the stage. Visually exciting, this setting did not have much behind it to project her voice outward, but one only noticed that when she sang her second aria downstage with a bigger, fuller sound and hit those stratospheric F's with ease.

Kevin Langan, an elegant Sarastro, hit all the notes with finesse, but with less power than one might wish for. The three ladies, decked out in crescent shaped wigs and iridescent silks, were sung with great precision by Barbara Divis, Priti Gandhi and Susanna Guzman who formed a beautiful melodic unit. Each of these young artists is worth watching in the future.

John Fiore led the orchestra in a spirited and flexible rendition of the score with only an occasional ragged edge, while the chorus showed off its lush tones and excellent dynamic ability. It was a truly wonderful evening at the Civic Theater which lived up to San Diego Opera's motto: 'We make music worth seeing'.

L'Opéra Français de New York took over Alice Tully Hall on January fifth with two seldom heard one-act works: Camille Saint-Saens's La Princesse Jaune and Georges Bizet's Djamileh in stylish performances led by Yves Abel. La Princesse Jaune is a delicate lyrical work with the same type of allusions to the Orient that one finds in Delibes's Lakme and Bizet's The Pearl Fishers. As Lena, Cheryl Hickman used her large, well focussed voice to project the emotions of her character and to regale the audience with beauty of her tonal colors. Tenor, Gerard Powers, responded with warm attractive tones and a powerful forte.

While La Princesse Jaune is a lovely musical soufflé about a young man's obsession with a picture, Djamileh tells of a more serious love affair between a Pasha and a member of his harem. It made a fine vehicle for the gifted mezzo-soprano, Dolora Zajick. Clad in sumptuous red and gold, she poured forth the creamy colors of her powerful voice while also paying careful attention to the subtle nuances of the role. Gerard Powers sang the role of the Pasha Haroun, ardently and with great sensitivity, but singing two roles in one evening would seem to be the reason he sounded tired by the end of the performance.

On January 8th, the Metropolitan Opera gave its premiere of Ferruccio Busoni's Doktor Faust. This co-production with the Salzburg Festival was first seen there during the summer of 1999 and there, as here, it was a triumphant success for Thomas Hampson. In this production, director Peter Mussbach attempts to achieve dramatic continuity by treating the character of Faust as an actor playing a role in a dream, thus glossing over the gaps between the scenes of the story. The sets, by Erich Wonder, are stylized and much is suggested, although there are beautiful dreamscapes and a fabulous snowstorm in the second act.

Thomas Hampson brought the piece to life with his authoritative performance. Although the part is extremely long, his warm, resonant voice retained its color, power and beauty to the end, a tremendous feat for which he was well applauded. Robert Brubaker essayed the fiendishly difficult, high tenor part of Mephistopheles with special attention to correct expression of the text, and he only seemed the slightest bit tired at the end of this long evening. The lone woman in this predominantly male opera is the Duchess of Parma, handsomely portrayed and magnificently sung by Katarina Dalayman. Smaller roles were sung by David Kuebler, an excellent Duke of Parma, and Peter Rose, whose Wagner was well characterized.

Even though he had only three rehearsals before taking over conducting chores from James Levine, Philippe Auguin paced the orchestra well and led that august group on to new glories. The realization of this most difficult masterpiece is an awesome achievement.

Opera Pacific's contribution to the revivals of this Verdi anniversary year was the staging of his tenth opera, Macbeth. The production was directed by Colin Graham of The Opera Theater of Saint Louis, and it utilized a revolving set of stone ruins built at the Teatro Municipal of Santiago, Chile, along with newly designed costumes by Joel Berlin.

In the title role, Richard Paul Fink gave unstintingly of his large vocal resources in an effective portrayal of this wicked, but nonetheless human, character. Despite a few difficulties with the coloratura that this role calls for, Cynthia Lawrence gave us both the human and the evil sides of Lady Macbeth, varying the colors of her voice so as to show not only the strength of her character, but her weaknesses as well. Andrew Richards was a smooth and fluent Macduff, Eric Owens a robust Banquo and Chad Berlinghieri a lightweight Malcolm. Conductor, John de Main, gave an intense reading of the score highlighted by generally smooth playing.

There were many more interesting performances this month, such as The Dallas Opera's Siegfried and The Houston Grand Opera's Cosi fan tutte, but it is not possible to cover every one of them.

February

Handel's Giulio Cesare at the Los Angeles Opera: Elizabeth Futral as Cleopatra and Bejun Mehta as Tolomeo

Photo: Ken Howard

Written in 1724 for the Kings Theater in London, George Frideric Handel's Giulio Cesare is one of his crowning glories, the performance of which is as exciting today as it was in the 18th century. On February 23, 2001, the Los Angeles Opera presented this opera in a production by Francisco Negrin first shown at Opera Australia in 1994 with a cast including: David Daniels as Cesare, Elizabeth Futral as Cleopatra, Bejun Mehta as Tolomeo, Susanna Guzman as Cornelia, David Walker as Nireno and Paula Rasmussen as Sesto.

Under the direction of Harry Bicket, the Los Angeles Opera Orchestra was augmented with historically correct instruments, including theorbo and viola da gamba, to tackle one of this composer's longest and most elaborate operas. In the original score Cesare and Cleopatra were allotted eight arias each, but in this performance which lasted over three hours, Cesare sang two da capo arias and Cleopatra gloried in four.

The scenery by Anthony Baker consisted of 4 rectangular slabs which were arranged in various configurations to fit the situation of each scene. In addition to the normal stage area, a runway was added that went from stage right around the orchestra pit and ended just past the conductor's podium. When used, it served to make a more intimate venue for singers and solo instrumentalists.

David Daniels started of with a thin sound but his voice gradually grew in power so that half way into the first act he was sounding as wonderfully round toned as his recordings, while his characterization of Cesare became more emotionally absorbing and theatrically satisfying. Elizabeth Futral, who starts out being a beautiful as any movie goddess, was in gorgeous voice as well. She was also strikingly gowned, except for the bath scene when she disrobed behind a towel, showing just a hint of breast as she descended into the tub. The only point at which one might have wished for more from here was during her aria 'V'adoro pupille', when she was permanently placed at the top of a long flight of stairs, rather fa from the audience, causing a slight diminution of her otherwise more than adequate volume. For the rest of the opera she sang with the utmost accuracy and clarity of tone.

Elizabeth Futral as Cleopatra in the Los Angeles Opera Giulio Cesare

Photo: Ken Howard

Bejun Mehta's Tolomeo showed his coloratura ability more than his character's more frightening aspects, but he acted well within the bounds constructed by the stage direction. Susanna Guzman, as Cornelia, looked enchanting in her red bare midriff harem outfit, and although slightly miscast in the contralto role, sang with characteristically smooth legato. Paula Rasmussen as her son, Sesto, was an excellent choice for this castrato role, singing with creamy tones and technical accuracy. Their duet was a joy to hear. In this energetic production Nireno, David Walker, was in constant motion, possibly accounting for his occasional lapses in intonation. More traditional male voices were ably supplied by baritone, Pablo Porras, as Curio and bass, James Creswell, as Achilla. Hopefully, the Los Angeles Opera will give us a chance to hear more of these artists soon.

Eighteenth century music authority, Harry Bicket brought forth crisp rhythms from his orchestra, never letting the tempi lag or phrases get overblown, and his players responded with accurate, fluent playing. All in all it was a memorable evening at the Dorothy Chandler Pavilion.

On Feb 1, The Dallas Opera presented Massenet's Manon in an earthy David McVicker Production from English National Opera. It was an evening full of eventful drama and fine singing. McVicker placed the action in a lower socio-economic class than is usually seen, so the action involved impoverished women looking for men who could keep them fed as well as clothed and far wealthier men who were intent on pleasure. Tanya McCallin's costumes tended toward the grotesque and the choristers were actually dressed as caricatures as they watched the action from a gallery.

In the middle of this tough atmosphere, the tender relationship between Manon and Des Grieux became even more moving. Hei-Kyung Hong's Manon was unforgettable, as she grew from an innocent but calculating young girl to a flashy courtesan in all her glory. Her voice bloomed wonderfully as it soared easily to the higher reaches of the score, and she tackled the more difficult passages with dazzling accuracy. She is one of the joys of our age and is not to be missed if she appears in your city. Paul Charles Clarke, who has excellent stage presence, was an ardent Des Grieux who sang with an authentic, if lean, French sound and for him the aria 'Ah fuyez douce image' was an opportunity to display his most delicate phrasing.

Earle Patriarco was a brutish Lescaut with a bright well used baritone, while Jerold Siena was slightly comic and thoroughly grotesque as Guillot, Brian Montgomery was impressive as De Bretigny, Stephen West was imposing as the dignified Count Des Grieux, and Nathalie Paulin, Deanne Meek and Valerie Komer were a well knit ensemble as Pousette, Javotte and Rosette. The chorus under Alexander Rom provided a fine dramatic presence even though some of their entrances were a bit ragged, and Emmanuel Plasson, son of the better known Michel, led the excellent Dallas Opera orchestra in a lean, idiomatic and well paced reading of the score.

On February 4, at Avery Fisher Hall, Leon Botstein conducted the American Symphony Orchestra, soloists and the Concert Chorale of New York in Ernest Chausson's rarely heard masterpiece, Le Roi Arthus. Composed between 1886 and 1895, this work has some significant Wagnerian overtones despite the composer's protests to the contrary. What is less obvious is that Chausson also owes a debt to Cesar Franck when it comes to the use of a more decorative chromaticism than that found in Wagner's works. Botstein brought this neglected but powerful piece to life with brilliant playing by all members of the orchestra, highlighted by beautifully bowed cello solos and the use of unusual bass and contra bass clarinets.

This opera tells of the end of the reign of King Arthur and its melancholy music speaks to his resignation as he learns of his betrayal. In the heroic tenor role of Lancelot, Hugh Smith gave a forceful portrayal of the knight whose remorse is so great that he eventually lets himself be wounded by Arthur. Substituting for the indisposed Russell Braun, Andrew Schroeder was an Arthur who sang with burnished tones as he projected his resigned but still forceful character. Although he began a bit tenuously, he soon gained in security and his final scene was sung with full, round tones.

Nicolle Foland was an almost ideal Guinevere who sang with both power and delicacy and was only rarely covered by the large orchestra. In other roles, Francois Le Roux, who sang Merlin, made excellent use of his exquisite French diction, Shawn Mathey was an engaging squire, veteran bass, Don Yule, portrayed an effective Allan and Jung-Hack Seo was an able Mordred.

Funded by Alberto Vilar, Britain's Glyndebourne Festival brought Leos Janacek's The Makropolous Case to the Brooklyn Academy of Music for four performances beginning February 11th. The 1995 production conceived by Elijah Moshinsky was staged by Nicholas Lehnhoff and starred that charismatic singing actress who has very rarely performed in New York, Anja Silja. Her name assured sold out houses, even though she is known to be well beyond her vocal prime. The action of this production is set in the Prague of the 1920's and flamboyant Erte-inspired costumes by Tobias Hoheisel looked magnificent on the eternally slim diva.

Although conductor, David Atherton, had less than a week of rehearsal with the Brooklyn orchestra, the performance of its players was crisp and accurate for the most part with only a few ragged edges. The other members of the cast including Steven Page, Par Lindskog and Linda Tuvas, singers not well known to the New York audience, sang accurately and were effective stage protagonists.

In a conservative production directed by Linda Brovsky, the San Diego Opera presented Charles Gounod's Faust on Sunday, February 25. Richard Bonynge conducted. Octavio Arevalo was Faust, and Izabela Labuda was Marguerite. Mephistopheles was sung by Ferruccio Furlanetto, with Judith Christin as Marthe, Zheng Cao as Siebel, and Jeff Matsey as Valentin.

With so many productions utilizing new concepts which change the time and place of well known operas, it was refreshing to see a traditional production of this well known, but no longer often seen, opera. The sets and costumes for this Faust, originally constructed for Houston Grand Opera by Earl Staley, kept the piece set firmly in sixteenth century Germany, with slight invocations of the occult in the shadows.

Making his US debut, Mexican tenor Octavio Arevalo proved to be an important discovery. He has a beautifully resonant sound along with serious acting ability, and should be a happy addition to many opera houses in the bel canto and lighter lyric roles. Ferruccio Furlanetto's Mephistopheles is legendary and in this performance he certainly lived up to that status. He has a huge, flexible voice with burnished tones that seem to surround the listener. His song of the Golden Calf was impressive, his serenade, memorable, and his invocation of the night was awe inspiring.

As Marguerite, Izabela Labuda, portrayed her character effectively and sang most of it accurately, although she lacked the coloratura fireworks one generally expects from the Jewel Song. Zheng Cao sang Siebel with creamy, smooth and opulent tones, while in the comic relief role of the middle aged neighbor, Marthe, Judith Christin amused the audience with an obvious attempt to seduce His Satanic Majesty, even grabbing his cape at one point. For those who had not heard him before, baritone Jeff Matsey was an exciting discovery. He has a large well focussed baritone voice and acting ability as well.

Faust is an opera in which the chorus is an important part of the musical fabric, and the San Diego group sang with panache under the direction of Timothy Todd Simmons. Conductor Richard Bonynge is no stranger to this opera house, and his expert cohesive pacing with sprightly tempi made for a very effective reading of the score. It was a fine performance that showed off many of the best points of the San Diego opera.

March

Vladimir Galouzine as Alexei, Elena Obraztsova as Grammy, and Olga Guryakova as Pauline in Prokofiev's The Gambler at the Met

Photo: Winnie Klotz/Metropolitan Opera

On March 19 the Metropolitan Opera gave its first performance of Sergei Prokofiev's The Gambler, a dissonant, expressionistic opera from the 1920s with a libretto by the composer based on Feodor Dostoyevsky's 1866 novella. The good looking set by George Tsypin and attractive costumes by Georgi Alexi-Meskhvili, effectively lit by James Ingalls, gave a visual uplift to this otherwise difficult piece. Temur Chkheidze's production played up the lighter moments of the story and the staging did provide some contrast to Prokofiev's relentless repetition.

Olga Guryakova as Pauline and Vladimir Galouzine as Alexei in The Gambler

Photo: Winnie Klotz/Metropolitan Opera

The star of this production was Vladimir Galouzine who gave a stellar performance in the ungrateful role of Alexei. A true tenore di forza, he was able to follow long periods of declamation with a smooth, unerring legato, keeping his singing in tune, focused and resonant. Olga Guryakova's Pauline was both touching and sexy. Like Galouzine, her intonation was flawless, giving the impression that she could pull off this tremendously difficult part with ease.

Many readers remember Elena Obraztsova from some years ago when she sang leading roles all over the world. As the grandmother in this performance, she proved that she has retained her huge chest tones and her authoritative command of the stage. Like many older singers whose voices may no longer be fully intact, she still has a great deal to offer if given the right role.

The Met Orchestra played impressively under the baton of Valery Gergiev, whose grasp of the style of this piece makes his interpretation a very welcome addition to the New York operatic scene. Although many members of the audience were not immediately converted to this rather difficult opera, and the house was not nearly as full at the end of the evening as it had been at the beginning, those who stayed through all four acts had a truly memorable experience.

Vladimir Galouzine in The Gambler

Photo: Winnie Klotz/Metropolitan Opera

Carlisle Floyd's new opera, Cold Sassy Tree, which is based on Olive Ann Burns' best selling novel, takes place in a small Georgia town at the turn of the twentieth century. The name, Cold Sassy Tree, was given to that town because it was thought to be the coolest place in northern Georgia and because it had a large sassafras tree. The main story line tells of the marriage and ensuing love affair between store owner, Rucker Lattimore, a very recent widower, and his employee, Love Simpson. Love, a northerner, is considered an interloper by the townspeople and most especially by Rucker's two grown daughters. Only his grandson, Will Tweedy, who narrates the story, understands that Love is really the wife that the older man needs to make him truly happy.

Dean Peterson as Rucker Lattimore and Patricia Racette as Love Simpson in San Diego Opera's Cold Sassy Tree

Photo by Ken Howard

The cast presented by San Diego Opera on March 24 was much the same as that of the opera's world premiere in Houston, Texas, last May, with Patricia Racette as Love, Dean Peterson as Rucker and John McVeigh as Will. Floyd's melodic music and its set pieces make this work closer to La Boheme than to many later twentieth century operas. Love's music, for example, is beautifully tailored to Racette's considerable abilities and arias like the appealing 'Rented Rooms' show this wonderful young soprano off to great advantage.

Dean Peterson shows us Rucker Lattimore as he gradually changes from a new widower who thinks that the best thing about his prospective bride is that he can stand to be around her for an extended period of time, to an ardent husband who finds himself completely in love with his wife. Vocally, his secure rendition of the 'Sermon' on the hypocrisy of the townspeople was a treasure. John McVeigh had long and difficult part as the narrator of the story, Will Tweedy, but he paced himself well, singing accurately with a pleasant ring to his voice, while his love interest, Lightfoot McClendon, was portrayed in fine style by a silvery voiced former member of the San Diego young artist program, Megan Weston.

Except for one or two ragged entrances, the chorus sang accurately especially in the life affirming final scene, while conductor, Karen Keltner, who had obviously done a great deal of hard work, led the fifty-five piece orchestra in a performance that brought out both the dramatic and the sentimental aspects of this exquisitely written score.

Patricia Racette, as Love Simpson, shows off her millinery skills to Judith Christin, as Effie Belle Tate, in San Diego Opera's Cold Sassy Tree

Photo by Ken Howard

The Opera Orchestra of New York, under the direction of Eve Queler, does a great service by giving concert performances of works that are seldom seen on the stage. On March 7, this group presented an Italian version, La Favorita, of Donizetti's 1840 La Favorite. It proved to be a fine vehicle for the star baritone, Dmitri Hvorostovsky, whose totally commanding stage presence, round tones and smooth legato delighted the audience.

New to New York was the luscious dark bass of the Ukrainian Operalia winner, Vitalij Kowaljow, and after this taste of his talent many opera fans are hoping to hear more of him very soon. The rest of the cast was not quite up to the level of the lower male voices. Gregory Kunde was an adequate Fernando and Jennifer Larmore's somewhat uneven mezzo voice served up all the right notes, but not always in the best form. This was a night to hear virile voices, though, and despite a few flubs in the orchestra, La Favorita was well worth the price of its tickets.

On March 8, 2001, for only the second time in its history, the Metropolitan Opera presented a new production of Verdi's third opera and his first big hit, Nabucco. Perhaps the reason this opera has not been produced more often is that it demands a superhuman soprano. For its premiere in 1960, the Met presented that most beloved Viennese singer, Leonie Rysanek, and in 2001 they have another attractive, dramatically talented singer with a seemingly bionic voice, Maria Guleghina.

This season's well received, traditional production is by Elijah Moshinsky with a towering 35 foot set by John Napier and splendid costumes by Andreane Neofitanou. Besides Ms Guleghina, on this evening the cast included Juan Pons as Nabucco, Samuel Ramey as Zaccaria, Wendy White as Fenena and Francisco Casanova as Ismaele.

Listening to Ms. Guleghina's Abigaille was an exciting experience as she propelled her gleaming voice through some of Verdi's most difficult music. It is to be noted, though, that the composer's own chosen Abigaille, Giuseppina Strepponi, later to become Mrs. Verdi, did not keep this role in her repertoire long and one might expect the same from the Ukrainian soprano. Samuel Ramey was in his usual excellent voice and it, along with his acting, made him a convincing Hebrew priest, Juan Pons was a conventionally solid Nabucco and Wendy White a passionate Fenena. In many ways the meat of this opera is given to the chorus, and in this performance they repeated their 'Va Pensiero', thus breaking the Met's usually hard and fast 'no encores' rule. James Levine and the deservedly much feted Met Orchestra provided a solid foundation for this epic performance and the audience showed its delight repeatedly at the end of the evening.

This is the Verdi centennial year because it has been one hundred years since his death, and as a result some of the maestro's less often performed works are readily available. One of them, Don Carlo, in its Italian incarnation was presented on March 17 in the nation's capital by the Washington Opera. Missing was the Fontainebleau Scene and some other delights of the French version, but the presentation of the four act version is a very worthwhile endeavor even if, as in this case, the production borrowed from the Lyric Opera of Chicago is somewhat gloomy and the stage direction rather static.

The Don Carlo, Ramon Vargas, is one of the truly great tenors of our time, and he sang with solid, clear, robust tones, while his companion, Rodrigo, sung by Dwayne Croft, led the action with his intense characterization and his strong, seemingly effortless singing of this demanding role. Veronica Villaroel used her distinctive sound and expressive acting ability to produce a finely characterized Elisabeth, while mezzo-soprano, Elizabeth Bishop, bowled everyone over with her warm voiced Eboli.

Under the able baton of Sir Edward Downes, the Washington Opera Orchestra brought forth beautiful sounds and showed the virtuosic playing ability of its members. This has been an excellent year for this company and Don Carlo is definitely a large jewel in its crown.

April

From left: Todd Geer as Arbace, Joseph Hu as the High Priest of Neptune, Ruxandra Donose as Idamante, Scott Wyatt as Idomeneo and Ute Selbig as Ilia in Idomeneo at the San Diego Opera

Photo © Ken Howard 2001

Gaetano Donizetti's 64th opera, Don Pasquale, which premiered in 1843, was revived by the Los Angeles Opera in a production created by the late Jean Pierre Ponelle for Covent Garden. Directed by Stephen Lawless and conducted by Emmanuel Joel, the LA performances starred Simone Alaimo as the Don, Thomas Allen as Dr Malatesta, Ruth Ann Swenson as Norina, and Greg Fedderly as her sweetheart, Ernesto.

The highlight of this most enjoyable evening was Swenson's rendition of the aria 'So Anch'io la virtu' magica', in which she tells of her enviable prowess with men. Singing some of the most difficult coloratura in the soprano repertoire with seeming ease, she created a truly human character with her fine acting and sense of humor. Simone Alaimo's Pasquale was cast in a slapstick mold, which seems to be the fashion in many opera houses these days, and it tended to spoil the delicacy of the work, but his singing was accurate and resonant.

Thomas Allen as Dr Malatesta and Ruth Ann Swenson as Norina in the Los Angeles Opera Don Pasquale

Photo © Ken Howard 2001

Although Thomas Allen's voice no longer pours forth as easily as it once did, he is still a consummate singing actor who commands the stage. Before the curtain rose an announcement was made telling of the indisposition of Greg Fedderly, who sang despite sinus problems. He sang carefully, hitting all the notes at the right times, but without the ease and fluency normally expected of him. Emmanuel Joel's rather quick tempi resulted in some imprecise ensembles, but this evening was replete with gorgeous singing and delicious comedy, for which the audience showed its appreciation with tumultuous applause.

Simone Alaimo as Don Pasquale and Thomas Allen as Dr Malatesta

Photo © Ken Howard 2001

On April 20, 2001, San Diego Opera presented its first production of Wolfgang Amadeus Mozart's Idomeneo, King of Crete, an opera which hints at music to be found in Le nozze di Figaro and Cosi fan tutte despite being written in the style of an opera seria, already considered old fashioned in Mozart's time.

The title role was to have been sung by Jerry Hadley, but he became indisposed one week before the premiere and cancelled all the performances. Scott Wyatt, who had covered the role in San Francisco and Santa Fe but had never sung it on stage then stepped in to save the show, bringing off this difficult part with considerable grace. Wyatt has a moderately sized voice with an appealing timbre which he used effectively to convey the tragedy befalling the ancient king. With his robust tones, accurate diction and excellent acting ability, this young, inexperienced singer created a believable character old enough to have a grown son.

Joseph Hu as the High Priest of Neptune in San Diego Opera's Idomeneo

Photo © Ken Howard 2001

The role of Ilia was sung by the Dresden Opera's Ute Selbig, who had been an excellent Susanna in San Diego's Figaro a few seasons ago. She sang with cool purity of tone and delicate coloration, even though this music may be slightly heavy for her voice. Despite a few poorly intoned notes, her silken top opened with a beautiful bloom and her act three aria, 'Zeffiretti lusinghieri', was sung with soaring abandon.

Ruxandra Donose, making her San Diego Opera debut in the trouser role of Idamante, was impressive both as an actress and as a singer. She looked handsome in her form-fitting costume and her warm, opulent sound was a treat for the ear. Although she may not have the biggest mezzo voice around, she combines a dazzling technique with excellent musicianship, often floating two phrases on one breath. With charismatic temperament and intelligent interpretation, she gave the audience a graphic picture of her character's emotional turmoil.

Scott Wyatt as Idomeneo

Photo © Ken Howard 2001

The role of Elettra is rather unsympathetic, but Carol Vaness brought it off with volcanic power and gleaming laser-like high notes. Although I detected a slight excess of vibrato when she sang fortissimo, she triumphed at the end of the opera with 'D'Oreste d'Aiace ho in seno i tormenti'. Todd Geer, whose Arbace benefitted from clear, steady, well supported tones and a pleasant timbre, also showed that he had considerable acting skills. Taiwanese tenor, Joseph Hu, has a flexible, warm, lyric voice which he used with dramatic expression as the High Priest, while Dean Elzinga, as the off stage voice of the sea god, had resounding bass-baritone sonority to spare. The latter was a fine Figaro at Arizona Opera last year and will sing the King in San Diego Opera's forthcoming performances of Aida.

Conductor Edoardo Müller, as always, treated his singers with supportive dynamic nuances, a relaxed expansiveness and appropriately varied tempi. There are some extremely beautiful orchestral passages in this score and Müller made them flow like old wine. Directed by Lotfi Mansouri with sets by John Conklin, costumes by Michael Stennett and lighting by Thomas J. Munn, this largely realistic production was constructed with walls that slide in and out to change scenes and a painted backdrop to portray the sea. The costumes were eye-catching and consistently flattered the figures of the singers with their attractive eighteenth century styling.

Idomeneo at the San Diego Opera

Photo © Ken Howard 2001

On April 8, 2001, The New York City Opera revived Douglas Moore's 1956 opera, Baby Doe, with a cast featuring two up-and-coming American stars, Elizabeth Futral and Mark Delavan. Conducted by George Manahan, this production by Colin Graham with fast changing sets by John Coyne, shows how effectively Moore and his librettist, John Latouche, could evoke the essence of life in a 19th century Colorado mining town. The robust voiced Delavan as silver miner, Horace Tabor, and the vivacious mezzo-soprano, Joyce Castle as his first wife Augusta, created memorable true to life characters as did the charismatic, strong voiced Myrna Paris, as Baby Doe's coarsely mannered mother.

Futral sang Baby Doe's somewhat ungratefully written music with exquisite grace and portrayed a less flamboyant character than that which we remember from earlier productions with Beverly Sills. Futral's softer edged approach is, however, an equally valid interpretation and one handkerchief was not enough at the end of this evening.

George Manahan's conducting brought forth a buoyant, warm and vibrant reading of the score from the excellent New York City Opera Orchestra and it may be noted that this nostalgic, truly American opera seems to be earning a genuine place in the operatic repertoire.

Placido Domingo has been singing Parsifal for ten years, now, and he does it better each time around. The role lies in the best part of the dramatic tenor's molten gold voice which soars gracefully over the opulent Wagnerian orchestration, and although he is no longer a young man, he moves very well on stage and can portray the youthful hero with ease. At the 29 March Met premiere he had a well chosen partner in Violeta Urmana, whose fiery, dramatic sensuality and bright, extended upper range made her a triumphant Kundry. As Gurnemanz, John Tomlinson showed the vulnerability of this character while singing the long role with great stamina and a certain amount of dramatic fervor.

Hans Joachim Ketelsen was a somewhat dry voiced Amfortas, but his rich portrayal gained the sympathy of the audience nonetheless, while Ekkehard Wlaschiha's Klingsor projected evil incarnate with a rather monochromatic, stentorian voice. As with many Wagner operas, the total effect of this performances was greater than the sum of its parts due to the shimmering colors and refined tension of James Levine's orchestra which never lost continuity despite the Maestro's slow tempi. With its old fashioned realistic sets and costumes, this production may not be around very much longer, but let's hope we will have many more Parsifals with Domingo, Urmana and Levine.

Giacomo Meyerbeer's Les Huguenots, first performed in 1836 is a quintessential French grand opera which has not been staged in New York since 1915. It is too expensive for today's producers and, complete with several ballets, it is too long for the busy opera goers of the 21st century. Eve Queler's Opera Orchestra of New York gave it in judiciously cut concert form in 1969 and again, to a tumultuously appreciative audience, on April 23, 200l.

This opera stands or falls on its cast and Ms Queler assembled an excellent group of singers who were more than up to the task of making it work. Sicilian Tenor, Marcello Giordani, had no difficulty at all with the high tessitura of his part and sang up to a D natural with well placed, ringing tones. As Valentine, Krassimira Stoyanova was totally immersed in her character and projected it with great sensitivity. Olga Makarina's coloratura was agile enough, but she lacks a truly noble timbre needed for Marguerite and she did not add much ornamentation to her lines.

Met comprimaria, Maria Zifchak, showed that she is ready for bigger parts with her accurate coloratura mezzo voice and charismatic interpretation of Urbain, while bass, Luiz-Ottavio Faria, singing Marcel also seems to be a major talent with his easily produced dark voice.

In the other parts the high baritone of Kamel Boutros made him a suave de Nevers, but Gary Simpson was an underpowered, rather bland St. Bris. The latter was, however, just the slightest disappointment in an incredibly wonderful evening, and with Maestro Queler's supportive, enthusiastic conducting, the entire piece was close to a dream come true for lovers of fine singing.

May

The Triumphal March Scene from Aida at the San Diego Opera

San Diego Opera's final production of the 2001 season was a spectacular one of Giuseppe Verdi's Aida with varied, neo-traditional sets by Michael Yeargan, attractive costumes by Peter Hall and effective lighting by Marie Barrett. In the title role, Elena Zelenskaya showed that she has a pleasant, strong voice with a clear, if slightly edgy, sound on top and resonant chest tones. She sang with a graceful legato and, when called for, a well produced messa di voce. With fine vocalism and considerable acting ability, she created a compelling slave princess still regal in captivity.

Richard Margison was a splendidly heroic Radames. Not only did he sing an Italianate 'Celeste Aida' with an easily reached 'vicino al sol', he then proceeded to sing the rest of his role with well focused golden tones. Marianne Cornetti, who sang Amneris, has a huge trumpet-like voice with a secure technique. Her Judgment Scene was memorable and she created a will-defined character: a royal Egyptian princess in love with Radames, ready to share her throne with him and to fight desperately for his life until there is nothing left to do but curse his judges.

Elena Zelenskaya as Aida and Haijing Fu as Amonasro at the San Diego Opera

Hai Jing Fu was a dramatic Amonasro, imperious and menacing. He created a character not to be trifled with, while singing with a firm baritone voice that showed none of the vibrato problems which had troubled him some time ago. As Ramfis, Hao Jiang Tian exhibited a strong bass-baritone voice, portraying his priestly authority in his bearing and with solid resounding tones. Dean Elzinga's well honed acting skills made an interesting character of the King of Egypt. Secure and dramatic in his well enunciated utterances, his firm, resonant bass baritone foretells a fine future for this young artist. The superbly disciplined chorus directed by Timothy Todd Simmons brought forth clear harmonies and excellent balances, while the ballet, choreographed by John Matashock, was acrobatic and inventive, if not authentically Egyptian.

Edoardo Mueller gave us the immeasurable benefit of his deep understanding of Aida as he elicited an idiomatic reading of this most compelling score from the players of the San Diego Opera Orchestra. His tempi were never slack and the dramatic tension built up, scene upon scene, to the great denouement with the lovers in the tomb and Amneris above, alone, having shed her wig to reveal a bald head, praying for her lost lover. It was a truly wonderful evening and we look forward to many more great performances from this company during their 2002 season.

Marianne Cornetti as Amneris and Elena Zelenskaya as Aida

The year 2001 is the one-hundredth anniversary of the death of Giuseppe Verdi and, in commemoration, San Diego Opera presented his magnificent and dramatic Requiem as a finale to the season at the Civic Theater on 19 May 2001.

Together with soloists Elena Zelenskaya, Marianne Cornetti, Richard Leech and Dean Peterson, Edoardo Mueller conducted the San Diego Opera Orchestra - which now, for a change, could be seen on stage. For this occasion, the San Diego Opera Chorus was joined by that city's Master Chorale and alumni of the opera's young artist program, bringing the number of people on stage to well over three hundred, and the huge visual display added to the effect of the opening of this piece, a barely audible prayer for eternal rest.

Zelenskaya, who was a fine Aida at the beginning of the month has the kind of voice that can be heard through any orchestration and Maestro Mueller used her ability to great effect. She sang with clearly understandable, if slightly accented, Latin and poured forth rich, brilliant top notes, a warm middle register and powerful chest tones, unfortunately, marred on one or two occasions by faulty intonation. She is an unusually interesting artist, though, and I hope we will eventually get to hear her in Russian opera.

Richard Leech sang a radiant 'Ingemisco' with clear lyrical tones and Maestro Mueller made sure that he was never overpowered by the enormous forces on hand. In the ensembles, too, his singing was Italianate and emotionally affecting as he utilized subtle colors and dynamic shading to bring his part to life.

Marianne Cornetti, who garnered rave reviews as Amneris here, proved again that she is the kind of Verdi mezzo one does not often encounter these days. She has the high extension, the smooth legato, the dramatic timbre, the chest tones and, above all, the power to tackle the most difficult of this composer's heavy roles with seeming ease. She blended her voice expertly with the other singers, lightening it when necessary, and allowing it to shine like burnished copper in her solos. Dean Peterson, replacing the indisposed Kevin Langan, offered some perfectly gorgeous singing, especially in his upper register, and he imbued the 'Confutatis' with commanding authority.

Maestro Mueller brought together all of these disparate forces with great skill, keeping the melodic lines distinct and stylistically well-shaped while making sure that the soloists' voices were never covered. As with many overpowering performances, there was an occasional stray note, but this is a piece that speaks directly to the heart of the listener and, at the end of the evening, the huge audience was so audibly affected that there was a moment of silence before the outbreak of tumultuous, well-deserved applause.

The merry wives of Windsor: left to right Mary Ann McCormick as Meg, Luretta Bybee as Dame Quickly, and Sheri Greenawald as Alice in Falstaff at the Seattle Opera

Photo: Gary Smith

On 5 May 2001, the Seattle Opera presented Giuseppe Verdi's Falstaff in a perceptive and humorous production featuring sets by Hayden Griffen, costumes by Michael Stennett and stage direction by Chris Alexander. Alexander's keen knowledge of both Shakespeare and Verdi, along with his proven comedic ability, assured the audience of a rollicking good time.

The huge cast, including Alfonso Antoniozzi as Falstaff, Sheri Greenawald as Alice Ford, Frank Hernández as Ford, Jane Giering-de Hahn as Nanetta, William Burden as Fenton, Luretta Bybee as Dame Quickly, Mary Ann McCormick as Meg Page, Wiliam Saetre as Bardolfo, Seth Malkin as Pistola, and Joel Sorensen as Dr Caius formed an excellent ensemble. Conducted with enthusiasm by Gerard Schwarz, the performance moved along at a snappy pace.

Antoniozzi was the only singer with a truly impressive voice, but the ensemble of well matched comic characters revolved comfortably around him. Greenawald was a particularly fine comedienne, McCormick a sultry and smooth voiced Meg Page, Giering-de Haan a refreshing Nanetta with ethereal top notes, while Hernández was a properly jealous Ford, Burden an ardent Fenton, and Sorensen a comical Dr. Caius. Played with broad comedy and a great deal of action, including some cartoon-like pratfalls, this performance gave the audience an evening of constant laughter. The musical values were not neglected either. The Seattle Opera Orchestra played with energetic accuracy and the many cross rhythms of this piece were occasionally a bit murky but were never lost. It was a 'fun' performance and the audience obviously had a wonderful time.

Sir John is deposited in a dirty laundry basket: left to right, Mary Ann McCormick as Meg, Alfonso Antoniozzi as Falstaff, and Sheri Greenawald as Alice

Photo: Gary Smith

On 13 May 2001, the Opera Orchestra of New York presented Gaetano Donizetti's Maria Stuarda, juxtaposing two markedly different leading ladies: Lauren Flanigan as Queen Elizabeth I and Ruth Ann Swenson as Mary, Queen of Scots. Flanigan was every inch the queen with uniquely commanding stage presence and impressively dramatic vocal fireworks, and she sent Mary to the headsman with absolute glee, while Swenson portrayed a much softer-edged character, too much given over to affairs of the heart.

Unfortunately, because of the lack of staging of any kind, Mary was never humbled on her knees before Elizabeth and the most important scene of the opera was not as effective as it might have been. Swenson, however, sang her part with easily produced, well sustained legato phrases as she created her character with her voice rather than by her actions.

Gregory Kunde, who sang Robert, the Earl of Leicester, has a light tenor voice, much smaller than that of either soprano, but he had no trouble reaching the high notes which he sang with great bravado. Patrick Carfizzi poured forth a dark velvet bass-baritone sound as Count Talbot, while Chang Yong Liao, also an excellent new talent, was a resonant Lord Cecil and Eleni Matos gave us a finely drawn Anna.

Conductor Eve Queler, who produces so many fascinating concert performances of works that could never be staged by New York City's major opera companies, conducted the Opera Orchestra of NY with less than optimum tension, but this was a most interesting performance, none the less, and subscribers were overheard to be eagerly anticipating next year's selections.

On May 16, George Frideric Handel's Rodelinda, first performed in 1725, was presented at the Brooklyn Academy of Music by the Opera Theatre Company of Ireland. It was a brave bid for a place in the New York City season by this Dublin based touring company, which normally plays the cities and villages of its own country and neighboring Great Britain.

The performance in Brooklyn featured soprano Helen Williams as Rodelinda and she sang with clear, bright tones while acting her role with great poignancy. Countertenor, Jonathan Peter Kenny, was vocally less secure but his acting skills enabled him to put forth a fine portrayal of Bertarido's tormented state. Iain Paton was a menacing Grimoaldo and his well-focused tenor voice was pleasing to the ear, if a bit small for the size of the hall. Charles Johnson, on the other hand, proved to be a strong and secure Garibaldo, while Yvonne Howard was an effective Eudige.

Under the direction of Laurance Cummings, the New York Collegium played accurately and with fine Handelian style, despite the fact that they probably did not have a great deal of rehearsal time with the Irish singers. Hearing this company was a pleasant new experience for New Yorkers and it is hoped that they will soon return.

June

Erie Mills in the title role with Carolyn Betty as Nanny in Miss Havisham's Fire at the Opera Theatre of Saint Louis

On June 3, the Opera Theatre of Saint Louis presented a revival of Dominick Argento's Miss Havisham's Fire, an opera written in the late seventies for Beverly Sills who, unfortunately, never appeared in it. Stage director, James Robinson, prevailed upon Argento to give it another chance and, after some significant revisions, it is again before the American public - looking like a winner this time.

The plot is based on material from Charles Dickens' Great Expectations but the opera has a different slant, as it opens with an inquiry into the death of Aurelia Havisham and proceeds with flashbacks. Erie Mills portrayed the title character with white hot emotion. This is a modern bel canto role with a logically created mad scene, and Mills interpreted it with well focused coloratura, dramatic expression, excellent diction and well honed acting skills. Although her voice is not overly large, it carries well and her exciting performance brought forth ecstatic cheers from the audience.

Others in the cast were: Keith Phares who sang the role of Pip with excellent technique, and Patricia Risley who enchanted the audience with the beauty of her evenly produced voice and her fine characterization. Conductor, Beatrice Jona Affron, made a most auspicious debut as she elicited exquisitely colored sonorities and precision of attack from members of the St. Louis Symphony. With help from all these fine artists, an opera which once seemed destined for oblivion became the hit of the season.

Patricia Risley as Estella and Keith Phares as Pip in Miss Havisham's Fire at the Opera Theatre of Saint Louis

Chicago, like New York, has more than one fine opera company. On June 6 the Chicago Opera Theater presented the Glimmerglass production of George Frideric Handel's intimate 1718 opera, Acis and Galatea. Mark Lamos's whimsically up-dated staging kept the onlooker's interest without diverting attention from the musical values of the piece. Building on John Gay's timeless libretto, the whole production reverberated with sensuality as the cast, wearing Constance Hoffmann's white summer dresses and sailor suits, frolicked on a mythological Arcadian beach. Michael Smallwood sang ardently with a clear voice, ornamenting the repeats in the da capo arias as he cleverly combined a lover's passion with moments of tenderness. Nathalie Paulin, making her Chicago debut as Galatea, showed that she has a well supported, sensuous and agile soprano voice which does not lose its quality or its power in the lower register. Like Smallwood, she ornamented well and never sang the same tune the same way a second time.

Of course, a good story must have conflict and it was well supplied by bass baritone, Derrick Parker, as the giant cyclops, Polyphemus. He sang the aria, 'O Ruddier than the Cherry' with thunderous power. Impressive, too, was the portrayal of Damon by Jackalyn Short, and her Act II coloratura aria was one of the highlights of the evening. A great deal of the credit for this fine performance goes to Nicholas Cleobury who devised the ornamentation for the arias and conducted the small orchestra of virtuosi playing on period instruments. Some times good things come in small packages. This was one of them.

Paolo Gavanelli as Simon Boccanegra

Photo: Ken Friedman

On June 16 the San Francisco Opera presented a production of Giuseppe Verdi's Simon Boccanegra originally conceived for Covent Garden in 1991 by Elijah Moshinsky. It was staged here by David Edwards with sets by Michael Yeargan and costumes by Peter Hall. The original 1857 libretto for this opera was by Francesco Maria Piave, but Verdi and Arrigo Boito revised it in 1881 and it is this later version that we usually hear today. Simon is one of Verdi's most moving father figures, and although he was at one time a sea marauder, for most of the opera he is shown as having mellowed into an excellent statesman whose past seems forgotten.

Paolo Gavanelli, the San Francisco Simon, is a magnificent singing actor and he proved to be a majestic protagonist, authoritative in the Council Chamber and compellingly tender in the scenes with Amelia. At the premiere his legato was smooth and his messa di voce the hallmark of his excellent technique. Here is an artist about whom a great deal more should be written. He is truly one of the major singers of our time.

As Amelia, Carol Vaness acted with finesse and sang with beautiful Verdian style, proving that she still has a trill as well as secure high notes. Samuel Ramey, appearing as Fiesco for the first time, was monumentally impressive and his sonorous voice flowed forth like an ocean. Thus, his singing of 'Il lacerato spirito' was a model of grace, fine legato singing and Italianate style. Making his San Francisco debut as the treacherous Paolo was Nikolai Putilin. He has a huge resonant baritone voice and should be a major asset to this company in other roles as well . Carlo Ventre, substituting for the ailing Marcello Giordani as Gabriele Adorno, has a pleasing lyric tenor voice but seemed out of his depth in this company. He sang with considerable ardor and acted effectively, but his voice tended to sound pushed when he sang forte.

Yeargan's settings were imaginative and effective, reducing medieval Genoa to walls, columns and a blue silk sea, while Edwards' staging was traditional except for the use of an actor to portray the composer. Conductor Donald Runnicles shaped the music of this score with consummate mastery, at various times emphasizing warm, passionate strings, virtuoso woodwinds and bright, rousing trumpets.

One June 22nd Simon Boccanegra was again presented with the same cast, but by the end of Act I it became evident that Gavanelli, who had a throat infection, would not be able to finish the performance. For Act II Putilin moved from Paolo to Simon and gave a subtle interpretation of the role with his warm baritone sound, while young Patrick Carfizzi, who has been singing smaller parts at major opera houses recently, took on the role of Paolo and made a dramatic tour de force of it with his dark bass baritone voice and fluent acting. All the other parts were sung by the same artists as at the premiere, but this performance, with its last minute exigencies, proved the depth of the casting at San Francisco.

Catherine Malfitano as Tosca with Tom Fox as Scarpia (alive)

On June 6 the Los Angeles Opera presented a revival of its 1989 Tosca, as staged by Christopher Harlan with effective sets by John Gunter and lush costumes by Liz da Costa. Catherine Malfitano is one of the finest artists of our day and her Tosca is a true diva, vulnerable with her lover, but demanding of attention at all times. On this evening she was able to produce an amazingly wide range of tone colors while seeming to be so involved on stage that one wondered how she managed it all. As her consort, Cavaradossi, Richard Leech began with a few vocal problems but he gave a fine resonant performance after that and he showed himself to be an excellent acting partner for Malfitano. Tom Fox was a malevolent Scarpia, but one who sang his role suavely with insinuation rather than brute force and he made a distinct impression as a fine artist. In the pit, Richard Buckley propelled the performance forward at a firm pace, never overpowering the singers, and proving that 'Tinsel Town' can present opera on as high a level as any city in the USA.

. . . and Tom Fox as Scarpia (dead)

July

Mozart's Le nozze di Figaro at the Glimmerglass Opera

Photo: George Mott/Glimmerglass Opera

One of the best audience-building programs anywhere is the Metropolitan Opera's annual offering of free opera in New York City's Central Park, a natural oasis in the center of Manhattan. Among the crowd of 45,000 attending La traviata on July 2, 2001, were many people who had never before attended an opera. Verdi's La traviata was a perfect choice for this audience with young and pretty Basque soprano, Ainhoa Arteta, attractive tenor, Stuart Neil, and the well loved baritone, Dwayne Croft, singing their proverbial hearts out. Arteta, in particular, sang some exquisite pianissimi and colored her voice effectively in the more dramatic moments. Stuart Neil was a passionate Alfredo, although Maestro Barbacini chose to cut the cabaletta of his 'De' miei bollenti spiriti'. Dwayne Croft was not permitted the ending of his aria either but his was, nevertheless, a fine rendition of the role of Germont.

The Met in Central Park

Photo: Winnie Klotz

On July 7, The Glimmerglass Opera, a summer festival in Cooperstown, NY, presented Emanuel Chabrier's rarely performed 1877 opéra bouffe, L'Étoile. The music of this long neglected work is refined, elegant and full of interesting harmonies which were beautifully brought out by the sensitive conducting of Stewart Robertson.

Although the elaborate, surrealistic, mirrored sets by Andrew Lieberman, the colorful costumes by Constance Hoffman and the inventive lighting of Robert Wierzel added to the charm of this evocative work, Mark Lamos's stage direction required the singers to exaggerate their spoken lines to a marked degree and that seemed contrary to the light, frothy spirit of the piece.

The cast featured attractive soprano, Karina Garvin, as a fetching Princess Laola, honey-voiced mezzo, Christine Abraham, in the trouser role of the street peddler, Lazuli, with whom the princess falls in love, and tenor, Torrance Blaisdell, as a comically majestic, Ouf I. Also memorable were the performances of apprentice mezzo, Marie Lenormand, as Aloès and bass, Kevin Burdette, who together with Blaisdell enacted a hilarious drinking scene. What could be more fun on a summer evening than this magnum of musical champagne?

Caroline Whisnant and,Theodore Green in Vanessa at the Des Moines Metro Opera

On July 9, 2001, Des Moines Metro Opera presented Samuel Barber's 1958 opera, Vanessa, in a lavish production with eye-catching scenery and costumes by R. Keith Brumley and Connie Juranek. Conducted by Artistic Director, Robert L Larsen, Metro's middle sized orchestra poured forth the resplendent sonorities of this rich work and supported the singers' voices without ever overpowering them.

In the title role, Caroline Whisnant met the vocal and physical challenges of her role with smooth legato singing and expert stagecraft . Tenor, Theodore Green, looked the part of a suave suitor and he tossed off his difficult role with seeming ease while mezzo, Leah Creek, portrayed Erika with great musicality and dramatic verve. Although this Des Moines company only stages three productions per year, it works hard at doing them well with fine young artists who will soon be heard in better known venues. Caroline Whisnant, whose Norma was a hit at Metro last year, is just one of their singers who is beginning to make a fine career.

On July 14, The Glimmerglass Opera, presented a production of Wolfgang Amadeus Mozart's Le nozze di Figaro with a classically oriented set by Benoit Dugardyn and beautifully executed eighteenth century costumes by Johann Stegmeir.

Dean Ely was a cunning Figaro who easily outwitted his blue-blooded opponent, and his rich resonant sound set the standard for the performance. Nicole Heaston was a cute and winning Susanna whose smooth, dark toned soprano had both the delicate phrasing and the large range needed for this role. As the Countess, Joyce Guyer sang a show-stopping, poignant 'Dove Sono' in fine Mozartean style. Christopher Schaldenbrand was an arrogant count who sang with secure tones, while apprentice,Valerie Komar, was a passionate and amusing Cherubino. In lesser roles, David Evitts as Dr Bartolo and Lesley Leighton as Marcellina matched strong stage presence with good vocal performances. Apprentice, Steven Timoner, was an effective gardener, while another apprentice, Alison Trainor, as Barbarina, gave a fine rendition of her aria.

Stage director Stephen Lawless showed that he has a fine sense of comedy and a yen for perpetual motion. He never let his characters stop moving for a moment . . . not even when someone else was singing an aria. The Glimmerglass Orchestra and Chorus gave a first class reading of Mozart's score under the direction of their most able conductor, George Manahan, making this a truly fine performance amid the beauty of upstate New York's Adirondack Mountains.

Nicole Heaston as Susanna, Christopher Schaldenbrand as the Count, and Joyce Guyer as the Countessa in Le nozze di Figaro

Photo: George Mott/Glimmerglass Opera

On the same evening, July 14, The Opera Camerata of Washington, DC, under the leadership of its new artistic director, Gregory Buchalter, presented a concert of operatic favorites with soprano Sondra Radvanovsky and tenor, Francisco Casanova. Radvanovsky, who is fast becoming a major star in the operatic firmament, showed her versatility by singing arias from such different works as Verdi's La traviata and Tchaikovsky's Eugene Onegin. She sang a dramatic 'Ah, fors'è lui', with clean, accurate coloratura in the following 'Sempre libera', while her passionate rendition of the Letter Scene showed her huge dynamic range. Her voice has a distinctive sound and she is definitely an artist to watch.

Casanova was particularly impressive in the selections that called for soft legato singing: 'Federico's Lament' from Cilea's L'Arlesiana and 'Quando le sere al placido' from Verdi's Luisa Miller. His high notes were clear and they rang out more freely here than they have on some occasions at the Metropolitan Opera House. The duet from Un ballo in maschera was particularly well sung by these two artists who are able to sustain its long, sinuous phrases with ease and their single encore, a passionate rendition of the duet from the first act of Puccini's La bohème, sent this audience away with wonderful memories of this gala evening reverberating in their heads.

August

Summer in Santa Fe

Jeffrey Wells as Raimondo, Alexandra von der Weth as Lucia, Frank Lopardo as Edgardo, Jennifer Powell as Alisa, and Oziel Garza-Ornelas as Enrico in the Santa Fe Lucia di Lammermoor

Photo: Ken Howard

Austria has The Salzburg Festival, England has Glyndebourne and the United States has an equally unique summer opera festival in the Sangre de Cristo Mountains seven miles outside of Santa Fe, New Mexico. Against this magnificent background, The Santa Fe Opera Company newly headed by Richard Gaddes presented Mithridate, Re di Ponto, an opera written by Wolfgang Amadeus Mozart when he was 14 years old.

Although not on a par with his adult works, this early opus is fascinating in its foreshadowing of great works to come. Donald Kaasch did a fine job of negotiating the fiendishly difficult title role originally written for a tenor with an extremely high range. Laura Aiken looked like a film star as Aspasia and her top notes were glorious as she tossed off her most intricate coloratura. In the trouser roles of Sifare and Arbate, Nicolle Foland sang passionately and Kathleen Callahan showed the evenness of her strong voice along with a fine technique.

One of this season's apprentices, Eliza Warner, substituting for the ailing Bejun Mehta on a few hours notice, gave an admirable interpretation of the role of Farnace. Last, but very definitely not least, Celena Shafer was a tremendous hit as the East Indian princess, Ismene. She has it all, a gorgeous, voluminous, flexible voice, fine Mozartean style and excellent stagecraft. Australian apprentice-tenor, Michael Smallwood, also revealed an interesting, warm voice in the small role of Marzio. We will probably be hearing a great deal more of both these young artists.

Conductor, Kenneth Montgomery, has a fine command o