Opera Japonica/Archives/Letters from America 2002

Maria Nockin's Letters from America 2002

January

The Dallas Opera Götterdämmerung: Patricia Risley, Julia Anne Wolf, and Jane Jennings as the Rhinemaidens

Photo: George Landis

The Dallas Opera has been presenting Richard Wagner's Ring Cycle at a rate of one opera per year, and on January 10 of this season it arrived at the finale Götterdämmerung. Unfortunately, this company is financially unable to give all four operas in one season, but they certainly did their utmost to present a memorable production of this most awe inspiring of operas.

Roberto Oswald's production is not new, but it is well thought out and it provides an excellent background for this compelling human drama. It culminates in a burning of Valhalla followed by a wonderfully well projected flood after which a young boy appears with the Norns' rope, again in tact. The lighting design by Oswald and Shari Melde plays a big part in the success of the production, as do the monochrome costumes by Anibal Lapiz.

Frances Ginzer as Brünnhilde in Dallas

Photo: George Landis

Frances Ginzer was a strong Brünnhilde who sang with tones of molten bronze, holding the audience in the palm of her hand for the Immolation Scene. George Gray, whose Siegfried was a highlight of Arizona Opera's Ring a few years ago, was not quite as outstanding in Dallas, but he still produced powerful and agreeable tones.

The two male singers who made the most noteworthy impressions of the evening were Eric Halfvarson as a dark voiced, charismatically evil Hagen, and Richard Paul Fink whose contemptible character, Alberich, was convincingly played and extremely well sung. Peter Weber's Gunther was more than adequate, but his characterization was pale by comparison.

Elizabeth Bishop was an impressive Waltraute whose warning was transformed into a tension-filled dream. Her high notes were stunning but her voice seemed to thin out in the lower register. Debutante, Shirley Close, was a charming Gutrune and she, along with Bishop joined their voices with that of the strikingly powerful mezzo, Jill Grove, as a harmonically appealing set of Norns. The Rhinemaidens who sang their smooth harmonies off stage for the most part, were Jane Jennings, Arizona Opera's fine Gilda, Patricia Risley and Julia Anne Wolf. The Dallas Opera Orchestra has improved greatly this season and they played with intensity under the baton of Music Director, Graeme Jenkins.

Peter Weber as Gunther, Eric Halfvarson as Hagen, and George Gray as Siegfried in the Dallas Götterdämmerung

Photo: George Landis

On the same evening, January 10, the Metropolitan Opera presented a revival of John Cox's 1982 production of Il barbiere di Siviglia which features a revolving set by Robin Wagner and appealing costumes by Patricia Zipprodt. The focus of the evening was on the long awaited debut of the twenty-nine year old Peruvian tenor, Juan Diego Flórez, whose singing has already been heard in many of the major opera houses of Europe. He did not disappoint in any way, either. A slim, handsome young man with a rich, light tenor voice, he is a perfect fit for the part of Rossini's Almaviva. His technique is secure and he handles the most difficult coloratura as though he were born to sing it. No wonder he was wildly applauded at the end of the evening.

The Rosina was slated to be Ruth Ann Swenson but illness prevented her from appearing. She was replaced by the Argentine soprano, Paula Almerares, who gave a credible, if not overly exceptional, rendition of the role. She sang accurately and had a buoyant interpretation of the role that kept the comedy on track. Dwayne Croft's Figaro showed that he has a more flexible voice than one might expect but the part seems to lie a bit high for him. Paul Plishka was a hilarious Bartolo, Simone Alaimo a serpentine Basilio, and Claudia Waite, the Berta, sang with good Rossinian style, especially in the ensembles. Despite some occasional lapses in coordination, the brisk and energetic conducting of Yves Abel kept an urgency to the pacing of this light comedy so that there was never a moment that did not hold the audience in thrall.

Norma at the Fort Worth Opera: Larisa Tetuev and Robynne Redmon as Norma and Adalgisa on the first night

On January 18, the Fort Worth Opera presented its first performance of Vincenzo Bellini's bel canto masterpiece, Norma, in a production with timeless and attractive costumes that Allen Moyer originally designed for Minnesota Opera. Director, David Gately, told the story effectively, adding a ritual that included an on stage human sacrifice in the opera's opening scene. It certainly was an attention-getter and it served to establish a climate of violent passion despite the lyrical sounds of the music.

The Norma in this performance, Israeli soprano Larissa Tetuev, has a distinctive voice and she handled the long bel canto phrases with ease, while the soprano who sang that role the following night, Olivia Gorra, also the possessor of a rich timbre, was more passionate in her acting and conveyed more of the drama in her singing. The two Adalgisas were Robynne Redmon and Mary Phillips, both of whom sang with intensity and flexibility, although Redmon has a larger voice than Phillips. The Polliones were Joseph Wolverton and Raul Melo. Wolverton sang this opera's exquisite phrases with finesse while Melo, like his soprano, Gorra, topped his stylistically correct vocalism with dramatic fervor. Bass, Bojan Knezevic, was a vocally powerful, dramatically compelling Oroveso while Jennifer Kethley and Joseph Muir made their cameo parts, Clotilde and Flavio, fit perfectly into the well-sung whole. Christopher Larkin elicited a well paced, accurately played performance from the Fort Worth Symphony while always allowing the singers to sound their best in this difficult piece.

Norma at the Fort Worth Opera: Olivia Gorra in the title role on the second night

On January 22, 2002, San Diego Opera opened its season with the updated 'Hollywood' production of Giuseppe Verdi's Rigoletto by Australian movie director, Bruce Beresford, which had been shown previously at Los Angeles Opera. In this version Rigoletto is a theatrical agent, a yes-man, and he serves at the pleasure of movie mogul, 'Duke' Mantua, whose lascivious lifestyle is little different from that of the original Victor Hugo character. John Stoddart's simple sets tell the story well but, in this version of the story, Act I includes a screen on which clips of the Duke's new film are shown and the Act III set has a huge photo mural of the tenor's character. John Stegmeir's costumes helped set the mood of each scene, risque for Hollywood party-goers and demure for Gilda.

As Rigoletto, Mark Rucker created a believable character who has sold his integrity in order to be well paid. With a built up shoe and a crutch, his status as a handicapped man was always obvious, and one could empathize with much of his pain. Vocally, Rucker's work was impeccable. He expressed tenderness in the scenes with Gilda, suspicion in his dealings with Sparafucile and full blown rage at the movie people, all of this sung with well supported, resonant tones. Gilda is Maureen O' Flynn's signature role and she sang it sensitively with graceful, elegant phrasing. An excellent actress whose secure voice can be dramatically colored even at the top of her range, she capped off her 'Caro nome' with a lovely messa di voce.

Tall, handsome, Frank Poretta, who sang the part of Duke Mantua is a fine actor who seemed a bit underpowered vocally in Act I, but came into his own after that with clear, ringing tones. In the Act II aria, 'Parmi veder le lagrime,' he sang with a smooth legato and he brought off the cabaletta, 'Possente amor mi chiama,' in fine style. Jeffrey Wells was a properly menacing Sparafucile with easily produced, resounding low notes. James Scott Sikon was a drunken Monterone who nevertheless uttered a blood curdling curse and Megan Dey-Tóth was a jailer-like, bribe-hungry Giovanna. Wearing a leather mini-skirt, the Los Angeles Opera's sex goddess, Susanna Guzmán, was an alluring Maddalena who projected her low notes with considerable power.

The San Diego Opera Chorus, under the direction of Timothy Todd Simmons, gave a unified, adroit rendition of their music while the orchestra, led by its most capable music director, Karen Keltner, played with idiomatic Verdian style and technical accuracy. Maestro Keltner's interpretation of the score was sprightly in the lighter moments but she kept the tension mounting in the dramatic scenes without ever covering the voices of the singers. As a result, the finale in which Rigoletto vents his rage over the death of his daughter was truly memorable. This was a performance in which many different parts came together to form an original and inventive production. The musical values were always paramount, however, and the novel production complimented them beautifully.

Eugene Onegin in Houston: Zvetelina Vassileva as Tatyana (left) and Stephanie Novacek as Olga (right)

Photo: George Hixson

On January 25th the Houston Grand Opera offered Pyotr Ilyich Tchaikovsky's Eugene Onegin (Evgenij Onegin) in Willy Decker's Cologne production, staged in Texas by Sabine Hartmannshenn. The simple, spare set was designed by Wolfgang Gussmann and illuminated to fit each of the various scenes by Hans Toelstede. The rich period costumes were by Martin Rupprecht. The chorus, always an important part of Russian opera, sang with clear, clean harmonies under the direction of Richard Bado and danced Athol Farmer's choreography energetically.

Danish baritone, Bo Skovus, gave a deep, intense portrayal of the title character, a man who refuses the attentions of a young girl only to discover later that she had become everything he most desires in a wife. Skovus was a spoiled playboy at first, but his sorrow at the rejection he received at the end of the opera was no less heart rending because it was well deserved. Skovus's stagecraft and compelling interpretation made one care about Onegin despite his imperfections. Zvetelina Vassileva was a girlish Tatyana, unsure of herself in the letter scene, but she matured before our eyes becoming a sophisticated society matron by the finale. Despite an occasional intonation problem, she was able to encompass the role effectively, singing with the light sound of a young girl at the beginning and finishing with passionate, womanly tones full of dramatic colorations.

Former Houston Grand Opera Studio member, Raymond Very's Lensky was ardently sung and one could not help being sympathetic to the suffering of his character. Stephanie Novacek was a full voiced, resonant Olga and present day HGO Studio bass, Oren Gradus, was an authoritative, dignified Gremin. Robert Spano, better known as a symphonic conductor, led the HGO orchestra in a rather slow reading of the score which occasionally covered the voices of the singers, but they still managed well and this performance was a fine evening's entertainment.

Eugene Onegin in Houston: Katherine Ciesinski as Madame Larina and Aaron Judisch as the Captain, (foreground)

Photo: George Hixson

February

Ariodante in San Diego: Rosemary Joshua as Ginevra (left) and Vivica Genaux as Ariodante with dancers from the California Ballet Company

On February 2, the Lyric Opera of Chicago presented Richard Wagner's last opera, Parsifal, in a production by Nikolaus Lehnhoff seen previously at the English National Opera in 1999 and at the San Francisco Opera in 2000. Raimund Bauer's minimal scenery showed Monsalvat to be a bleak wasteland, possibly the result of a nuclear war. Even the Flower Maidens had to make do without a natural setting. Andrea Schmidt-Futterer's softly grayed costumes also contributed to the lack of color on stage, but they did present some thought-provoking images.

Parsifal in Chicago: Catherine Malfitano as Kundry (in background), Matti Salminen as Gurnemanz (right, foreground), and Gösta Winbergh as Parsifal (left foreground)

Photo: Robert Kusel/ Lyric Opera of Chicago

Catherine Malfitano's Kundry began as a bird like creature set upon by the squires and she showed that she is one of the few singers able to carry off such a scenario. An artist with a compelling talent who must be seen as well as heard, she brought a mesmerizing intensity to her portrayal and her voice soared majestically over the full orchestral sound. Håkan Hagegård was originally scheduled to sing Amfortas in this production, but he canceled well before the premiere and the role was given to Mark Delavan who made the most of it. With his powerful dark-timbred voice and consummate acting skills, he gave a riveting performance as the severely wounded son of Titurel.

Catherine Malfitano as Kundry and Gösta Winbergh as Parsifal

Photo: Dan Rest/ Lyric Opera of Chicago

Parsifal was played by Gösta Windbergh whose resonant tenor voice grew in strength as the evening went on, while the venerable Finnish bass, Matti Salminen, proved to be an outstanding Gurnemanz who commanded the stage whenever he appeared and whose rich tones resounded with great beauty throughout the house. Special kudos should go to Donald Palumbo, the chorus master, for excellent work on this piece. The women, in particular, sang with ethereal beauty. This was Sir Andrew Davis's first Parsifal production and he approached it with warmth and lyricism. He had a few problems with the orchestra on this evening, but none was so serious that it could not have been taken care of before the next performance.

Ariodante in San Diego: Rosemary Joshua as Ginevra flanked by dancers from the California Ballet Company

On February 12 San Diego Opera presented George Frideric Handel's masterpiece, Ariodante. Based on one of the tales in Ludovico Ariosto's 1516 poem Orlando Furioso, it was a tremendous success when it was first seen on January 8, 1735, at the brand new Covent Garden theater in London. It would seem to have been equally well appreciated this past month in San Diego.

Unlike many operas of its time, Ariodante has a plausible story with little interference by the supernatural. This hero is simply tricked into thinking that his beloved, Princess Ginevra, is unfaithful by the machinations of the evil Polinesso who wants to usurp the throne. The title role was originally written for the castrato, Carestini. Thus, in our time, it is usually sung by a mezzo-soprano. Vivica Genaux, justly renowned for her coloratura ability, carried off this trouser role with excellent Handelian style, singing with incredible agility as she brought her character from a naive youth to a mature, resourceful leader. Her second act aria, 'Scherza, infida, in gremba' was truly a gem that showed her ability to sing the most difficult ornamentation with apparent ease.

San Diego: Vivica Genaux in the title role of Ariodante

As Ginevra, Rosemary Joshua began a bit tentatively but soon warmed up to be an equal partner with Genaux in their Act I duet, 'Prendi, prendi'. Christine Brandes sang the role of the ill-used and deceitful Dalinda with an exquisitely smooth legato. She has a truly beautiful sound and it helped her make her character more sympathetic than it would otherwise have been. David Walker, singing the role of the villain, Polinesso, is the first counter-tenor to appear with this company and he did well in a very difficult role. He was the epitome of the evil doer you love to hate as he preened himself in his emerald silks.

The main tenor role in this opera, that of Lurcanio, was sung by the flexible voiced Bruce Fowler. He made a fine partner for Christine Brandes' Dalinda at the finale when they, along with Ariodante and Ginevra, were united by Julian Robbins, the strong voiced king. This Handel opera was a refreshing change from the usual fare and, hopefully, we will see more of the baroque in San Diego.

San Diego: Rosemary Joshua as Ginevra and Vivica Genaux as Ariodante flanked by dancers from the California Ballet Company

Mounting Sergei Prokofiev's War and Peace is a huge undertaking and the Metropolitan Opera, in conjunction with the Kirov Opera of St Petersburg, has done it with epic grandeur. On February 14, it was premiered in New York City with a production by Andrei Konchalovsky, whose interesting conceptions worked well for the most part. The production's only serious drawback was the domed stage floor by set designer, George Tsypin, which proved treacherously steep at its edges and thus placed the singers at its center, far from the conductor, for most of their time on stage. Tatiana Noginova's many distinctive costumes helped delineate some of the character portrayals undertaken by this enormous cast.

Musically, it was a fabulous evening. Conductor, Valery Gergiev, was totally in control of all his forces and they responded with the excellent musicianship of which the Met can be duly proud. The orchestra played brilliantly and the chorus sang with glorious full blooded sound. Making a truly auspicious debut was Anna Netrebko as Natasha. She enchanted the audience with her cool, clear soprano while she expressed the variety of moods experienced by this very human character. As Sonya, Ekaterina Semenchuk's creamy voice blended beautifully with Netrebko's and she, too, put forth an interesting characterization. Dmitri Hvorostovsky's Andrei was gallant and seductive, Both his lush singing and his charismatic acting were notable and his death scene was extremely moving. Gegam Grigorian, too, was in superb voice and gave a splendid portrayal of the troubled Count Bezukhov.

The well remembered mezzo-soprano, Elena Obraztsova has returned as a specialist in character parts and, as Madame Akhrosimova, she showed that she is not only a fine actress but that she still has her wonderful chest voice. Samuel Ramey was a fearless, commanding Kutuzov and his powerful bass voice poured forth burnished tones, while Vassily Gerello gave a well drawn portrait of a somewhat less than heroic Napoleon. Although there were occasional flaws in this enormous panorama, the Met did an excellent job of presenting this long and difficult piece.

Prokofiev's War and Peace at the Met: Samuel Ramey as Kutuzov (left), and Dmitri Hvorostovsky as Andrei (right)

Photo: Winnie Klotz / Metropolitan Opera

On February 20, the Kirov Opera performed Modest Mussorgsky's Khovanshchina at the Kennedy Center in Washington DC. This opera, which is infrequently performed in this country, was left incomplete when the composer died in 1881. The first musician to finish it was Nicolai Rimsky-Korsakov who orchestrated the score with great expertise, but also added his own personal sound to it. For this 2002 outing, conductor, Valery Gergiev chose to use a much newer edition by Paul Lamm which brings out a great deal more of the individuality of Mussorgsky's original. Maestro Gergiev's conducting was authoritative and he captured the sweeping quality of this prodigious work. Although he did not always hold down the decibel level for the singers and some entrances of both orchestra and chorus were ragged, his performance glowed with mesmerizing intensity. Stage director, Leonid Baratov, managed to inject a few moments of humor into this sad tale and these lighter touches provided a welcome contrast to the poignant story. He brought together a fine creative team and the exquisite sets by Fyodor Fedorovsky were particularly effective.

Unlike most operas which star a soprano or a light mezzo-soprano, Khovanshchina's leading female role is written for contralto, and Marianna Tarasova filled it marvelously well with her smooth, plum velvet chest tones which carried easily over the complex orchestration. As Ivan Khovansky, Vladimir Ognovenko sang and acted his character with great passion and the climactic scene with Victor Lutsyuk as his son, Andrei, was compellingly passionate. Silvery voiced soprano, Tatiana Pavlovskaya, had no trouble filling the role of Emma and Sergei Murazov was a vital and forceful Shaklovity whose prayer was received with considerable applause. Dosifei, the fanatical religious leader, is not at all glamorized in this production. Perhaps it is a sign of the times that martyrdom is not always as idealized, and in this version, Mikhail Kit gave us a picture of a frightening, if charismatic, man of God.

As a whole the Kirov brings the best in Russian opera, performing it as they do at home, urgently and powerfully, not always neatly but with a great love for both the music and the literature of their people.

Francis Poulenc's historical opera, Les Dialogues des Carmélites (The Dialogues of the Carmelites) tells of the execution by guillotine of the nuns of Compiègne during the French Revolution. One of their number, Mother Marie, survived the terror and wrote of it for posterity. After the canonization of the martyred sisters, a German writer, Gertrude von le Fort wrote a novel about the episode and in 1948 the French novelist, George Bernanos, turned it into a drama and helped the composer work out a libretto on the subject.

The February 23 Tucson presentation by Arizona Opera was directed by Anne Ewers, utilizing scenery originally designed for Tulsa Opera by Gunther Schneider Siemssen and costumes designed for Malabar by Amrei Skalicki. Ewers told the story with no holds barred and the tension was palpable for all but a short space during the second act. The ending was extremely powerful as one by one the nuns stopped singing the Salve Regina with the drop of the blade. It is not an opera for the faint of heart and there were quite a few empty seats by the last act, but those who stayed saw something extremely moving.

Before our eyes, Jane Giering-de Haan's lovely, sweet voiced Blanche grew from a terrified child to a mature human being who could willingly give her life for a cause. Although her voice was a bit light for the part, there was sufficient vocal contrast between Blanche and the Constance of Amée Puentes whose leggiero sound bloomed beautifully on top. Both of these women can act and their scenes together were extremely effective.

Katherine Cowdrick sang a powerful death scene as the Old Prioress, Norine Burgess was a staunch Mother Marie and Joanne Kolomyjec was an eloquent, affecting Madame Lidoine. The male contingent was not quite as impressive, but Richard Clement as the Chevalier, Richard Roe as the Marquis and Todd Miller as the Father Confessor acted well and declaimed in excellent French. In the smaller parts, debutante, Ilse Apestegui's distinctive voice made a good impression as she sang Sister Mathilde's few lines and Korby Myrick was truly memorable as a neurologically impaired but determined Mother Jeanne.

In this opera the chorus is extremely important and the women, in particular, sang with beautifully clear convent-like tones. Conductor, Kirk Muspratt, who led the Barber of Seville at Arizona Opera last season, showed that he is indeed able to handle both ends of the operatic scale. His dynamics were wide in their scope, but he did not cover the smaller voiced singers at any point and he kept the tension mounting throughout the piece except for a short while during the second act when there was a short respite. This work was a departure from the usual for Arizona Opera and they deserve a great deal of credit for bringing something completely different to this state's opera goers.

March

Die Zauberflöte at the Los Angeles Opera: Rodney Gilfry as Papageno

Photo: Ken Howard

Los Angeles has become an opera capital only in the last decade, but it is wasting no time in showing off its riches. On March 24 L A Opera revived its 1993 production of Wolfgang Amadeus Mozart's singspiel, Die Zauberflöte. The original concept was by Sir Peter Hall. This recreation was staged by Stanley M Garner with exotic sets, costumes and faux animals by Gerald Scarfe and creative lighting by Michael Gottlieb.

Die Zauberflöte at the LA Opera: (left to right) Greg Fedderly as Monostatos, Andrea Rost as Pamina, Reinhard Hagen as Sarastro, Michael Schade as Tamino and Rodney Gilfry as Papageno

Photo: Ken Howard

Michael Schade was an elegant Tamino. He sang with exquisite Mozartean style, acting with an economy of gesture, while his Pamina, Andrea Rost, exhibited a beautiful legato, fine musicality and excellent acting, particularly in her touching aria, 'Ach Ich fühl's'. Papageno has to be a knowledgeable comedian with precise timing and physical agility. Warm-voiced baritone, Rodney Gilfry, had no trouble filling that bill and his interpretation had just the right mix of charm and sensuality, not to mention excellent German. Wearing a deep blue flowing costume and blue makeup, Sumi Jo was an impressive Queen of the Night. Even though she was suspended high above the stage while crashes were heard back stage, she was imperturbable, singing her extremely difficult first aria with dazzling accuracy.

Die Zauberflöte at the LA Opera: Michael Schade as Tamino

Photo: Ken Howard

Bass, Reinhard Hagen was a dignified Sarastro who sang with great resonance and serious demeanor. Greg Fedderly's Monostatos was a cartoon character, a purely comic villain, in a ploy that worked to alleviate some of this opera's politically incorrect overtones. The Three Ladies, sung by Robin Follman, Cynthia Jansen and Suzanna Guzmán, were always in tune and blended their voices with great skill. In the smaller roles, Scott Wyatt was an authoritative First Priest and Shana Blake Hill was a pert, clear-voiced Papagena.

Die Zauberflöte at the LA Opera: (left) Andrea Rost as Pamina surrounded by the Three Spirits (left to right) Aidan Schultz-Meyer, Daniel Reardon and Lauren Libaw, (right) Sumi Jo as Queen of the Night

Photo: Ken Howard

The L A Opera Chorus, as directed by William Vendice, sang with assurance, cohesion and good German diction. Conductor, Lawrence Foster, played this work as a chamber opera with beautiful style and exquisite transparency. Many in the audience may have come to see the visual creations, but this production showed them that LA Opera can dazzle the ear at the same time.

Die Zauberflöte at the LA Opera: Reinhard Hagen as Sarastro surrounded by the chorus

Photo: Ken Howard

On March 1, the New York City Opera revived its 2000 production of George Gershwin's 1935 masterpiece Porgy and Bess. Tazewell Thompson's direction captured the local atmosphere of the piece and the sets by Douglas Schmidt established solid reality with three frame houses appropriate to the era, set against a backdrop showing a city skyline. Nancy Potts's costumes were attractive, elegant and individually styled for each character. She gave flamboyant red ruffles to Bess, off white with a full skirt to Clara and muted colors for the older, more dignified ladies.

Marquita Lister's Bess was larger than life and she seduced the audience as well as Porgy with her full, lush voice and seductive movements. It is a difficult part and she played it well. As Porgy, Alvy Powell conveyed straight forward integrity with his warm bass baritone voice, while he used his well honed acting skills to portray a man crippled in body but strong in mind and soul.

Porgy and Bess at the New York City Opera: Alvy Powell as Porgy and Marquita Lister as Bess

Photo: Carol Rosegg

The best known music in this work, 'Summertime', goes to the lighter voiced Clara who sings it to her baby. Adina Aaron has an enchantingly smooth, exquisitely colored voice which made her a perfect choice for this role. Dashing, limber Timothy Robert Blevins was a fascinating and dangerous Crown, while Duane Clark's Sportin' Life was equally earthy with a little more class. Angela Renée Simpson sang Serena's 'My man's gone now' with great passion, making good use of her sonorous chest voice. John DeMain conducted this epic piece with great gusto, sweeping through its various tunes and rhythms with his vast knowledge of its idiomatic style.

The best part of this presentation was its live repetition later in the month for public television. It is wonderful to contemplate how many more people saw it at home than would ever get to the NYC Opera.

Porgy and Bess at the NYCO: Alvy Powell as Porgy (center)

Photo: Carol Rosegg

On Saturday, March 2, the San Diego Opera presented a recital by tenor, Anthony Dean Griffey, and pianist, Blair McMillan, at the Sherwood Auditorium of the San Diego Museum of Contemporary Art. It was a perfect setting for a recital by this young artist who usually specializes in contemporary American opera.

Griffey presented a rather traditional program beginning with a group of John Dowland songs, one from each of his three song books. Although the language has changed a great deal since the composer's time, the singer's artistry and impeccable diction made these songs thoroughly intelligible and entertaining for everyone in attendance. He then plunged into the German repertoire, singing a group from Franz Schubert's Schwanengesang followed by Johannes Brahms's 'Sonntag,' 'Von ewiger Liebe' and 'Meine Liebe ist grün.' Griffey's German is good, but not up to the level of his English diction, and while these songs were beautifully presented, they were not quite as well done as the Dowland and later American pieces.

In the French groups that followed the intermission, Ernest Chausson's 'Serenade Italienne,' and 'Le temps des lilas' along with Maurice Ravel's 'Cinq mélodies populaires grecques,' the tenor showed that he is developing beautiful colors in his voice and a flair for French music. The last group was, of course, the piéce de resistance: Set One of Aaron Copland's arrangement of Old American Songs. Few singers can come close to Griffey's ability to communicate the comedy and nostalgia of these folk pieces. The encores included the aria 'It Must Make the Good Lord Sad' from Carlisle Floyd's Susannah, the 'Simple song' from Leonard Bernstein's Mass and the traditional spiritual, 'This Little Light of Mine'.

Accompanist, McMillan, was also in his element playing this twentieth century music, as most of his work is in this vein. He played the entire program in a self-effacing, musically convincing manner, but he excelled in the Copland. Together, McMillan and Griffey make a fine pair of artists who are capable of bringing out the best in American song.

On March 13, the Florida Grand Opera presented Modest Mussorgsky's epic Boris Godunov at Miami's Dade County Auditorium with a cast led by a singer whom we hear more often in German opera: James Morris. Unfortunately, the company did not engage a mezzo-soprano to star in the (usually performed) Polish Act. Instead they opted for an earlier version of the opera together with a few later additions which did not require any additional casting. Thus, the opera did not have the contrast afforded by the spectacular second act love duet. Lotfi Mansouri created the production, the sets for which were beautifully adorned, abstract facades. Under Todd Hensley's creative lighting, they produced an imaginative background for this historical piece.

Morris has mastered this role in all its intricacies. He had every nuance of color and dynamics at his command, using all of it with exquisite phrasing so as to show the various sides of this cruel Tsar who is, at the same time, a tender, loving father to his children. Always the troubled ruler, Morris's Boris was majestic in the coronation scene, frightening in his admonition to Shuisky and realistic in his tragic death scene.

Kevin Langan was an excellent dark voiced Pimen with easy low notes. Since this was his 1000th performance, the company presented him with a gift at the intermission. As Grigori, tenor, Jeffrey Springer sang with fine technique and idiomatic Russian style. Mikhail Svetlov, who was to sing Boris later on in the run, created a memorable Varlaam. The only Russian-born member of the cast, he combined his powerful, deep voice with considerable acting ability to create a tremendously interesting character out of this drunken reprobate.

One of the few women's parts in this version of the opera is that of the Innkeeper and Sondra Kelly made the most of her few minutes in the limelight. She and Svetlov stole their part of the show. Boris's children were sung effectively by Sarah Miller and Audrey Babcock and their nurse was well characterized by Elaine Fox. The treacherous Shuisky, who eventually became Tsar, was portrayed by Allan Glassman, capable of acting vocally as well as physically. Pierre Lefebvre was a fine simpleton who added to the somber mood of the piece. Conductor Steward Robertson elicited accurate playing from the Florida Philharmonic, but their interpretation lacked the savage feeling that one hears from Russian orchestras. Chorus director, Bernard McDonald, coaxed beautifully blended sounds from his singers.

Saturday March 16 was the opening night of the Baltimore Opera's Otello which featured striking red, white, black and gold sets by Allen Charles Klein who also designed the somewhat less interesting costumes.

John Frederic West sang his 'Exultate' with ringing high notes and followed it with a smooth subtle legato in the love duet. His tones were well supported in the middle and upper registers but his low notes seemed lacking in quality. He looked the part of the rough-hewn military leader, but in his interpretation Otello was seriously disturbed from the first indication of infidelity, thus leaving little room for growth in his characterization. Nevertheless, his was an affecting, finely nuanced rendition of the role.

Aprile Millo's interpretation of Desdemona was more conventional and her opulent, creamy voice easily filled the theater with warm sound. She did not indulge in much soft singing, but that may have been the fault of conductor, Christian Badea, who often failed to hold the orchestra down to a level at which the singers could be heard singing piano. Her acting was impeccable and the audience was thoroughly impressed with her performance.

The Iago of Alexandru Agache was unrelentingly evil and he sang expressively although his actions were occasionally stiff. His large baritone voice is still somewhat dry but it is beginning to have more color and he is fast becoming one of the better Iagos to be heard in the United States. As Cassio, Taylor Hargrave showed that he is a good actor as well as a promising tenor, while Ryu Kyung Kim was a sympathetic Emilia. The chorus sang well although there were a few uneven entrances. Christian Badea conducted with great passion and the orchestra responded well to his cues. All in all, this was a rollicking good performance of the kind enjoyed most by those who proclaim 'Prima la musica'.

April

Don Pasquale in San Diego: Matthew Polenzani as Ernesto

Photo: © Ken Howard, 2002

On 1 April, the Metropolitan Opera presented its premiere performance of Ermanno Wolf-Ferrari's sentimental melodrama Sly. Written in 1927, this opera is based on an incident at the beginning of Shakespeare's The Taming of the Shrew which was made into a libretto by Giovacchino Forzano, who also fashioned the story of Puccini's Gianni Schicchi from an incident in Dante's Inferno. Staged by Marta Domingo, the production was brought to New York after a successful run at The Washington Opera. It is a quasi-realistic presentation with somewhat gloomy sets behind a scrim and attractive, occasionally risque costumes by Michael Scott.

This opera is a showcase for the tenor, and Plácido Domingo took full advantage of its opportunities. The role demands a great deal of singing in the middle and lower registers, which suits the Mexican tenor extremely well at this time in his career. His resonant, distinctive tones rang out while he proved once again that he is a consummate actor as well as one of the great singers of our time.

Sly at the Met: Maria Guleghina as Dolly and Placido Domingo as Sly (right).Juan Pons as the Count of Westmoreland (center), John Fanning as John Plake and Placido Domingo as Sly (left)

Photo: Winnie Klotz/Metropolitan Opera

As the Count of Westmoreland, Juan Pons's performance was solid and assured. His voice, too, was a good fit for this rather nasty part. Playing the part of Dolly, his mistress, Maria Guleghina sang with a powerfully dramatic voice. Her acting was skillful, she moved gracefully and she looked elegant in Scott's Ziegfeld-styled costumes. Jane Bunnell presented a strong characterization as the tavern hostess and John Fanning was effective in the part of Sly's one loyal friend, John Plake.

Marco Armiliato has become a very well respected conductor in the short time he has been at the Met. Under his leadership the orchestra played Wolf-Ferrari's difficult score with style and accuracy, fully capturing its melancholy mood. Although the opera house was not full, the fans present gave this newly rediscovered opera an enthusiastic reception.

Tosca in San Diego: Richard Leech as the painter Mario Cavaradossi

Photo: © Ken Howard, 2002

The General Director of San Diego Opera, Ian Campbell, is also a stage director. Thus, on April 2, he put himself to work staging this season's Tosca, which utilized sets by Jean-Pierre Ponnelle and eye-catching costumes by Ray Diffen and Suzanne Mess. Giacomo Puccini tells us exactly where each scene of his opera takes place and Ponnelle's sets represented each locale correctly, if sometimes from an unusual angle. Campbell's direction made all of the characters on the stage into live human beings. Tosca was a proud diva who lived for art, but she broke down emotionally when her lover was tortured. Cavaradossi was an ardent lover, but you could not help thinking that he was not totally faithful to Tosca. One could even relate to Scarpia because he was somewhat attractive, even seductive at times.

Tosca in San Diego Opera: the end of Act 1

Photo: © Ken Howard, 2002

Galina Gorchakova was an excellent choice for Tosca. A true, dramatic soprano, she showed the audience that she could act as well as sing a smooth legato line with a beautiful tone and a full range of dynamics. Richard Leech has a warm, bright voice that makes his Cavaradossi a delight to hear. He was playful with Tosca in Act I, delivered the 'Vittoria' with dramatic punch in Act II and captured the poignancy of a life about to be violently cut short in Act III.

Tosca in San Diego: (left to right) Joseph Hu as Spoletta, Kimm Julian as Scarpia and Galina Gorchakova in the title role

Photo: © Ken Howard, 2002

Kimm Julian was an overwhelming presence as Scarpia. He was elegant and charming one moment, menacing and malicious the next. Not only did he tower over all the other singers, his voice is enormous and he had no trouble being heard in the heavily orchestrated 'Te Deum.' In the roles of Sciarrone and Angelotti, Jamie Offenbach's somewhat dry voice was perfect for his characterizations. Francois Loup was a comically pompous Sacristan and Joseph Hu was a cunning, evil Spoletta.

Conductor, Edoardo Müller, brought his diverse forces together in perfect harmony except for one tiny spot which was probably fixed by the next performance. This conductor seems to have Puccini's style coursing through his veins. He captured the nuances and the musical essence of each scene and the total effect was mesmerizing.

Kimm Julian as Scarpia and Galina Gorchakova as Tosca in San Diego

Photo: © Ken Howard, 2002

On April 4 Opera Carolina, which performs in Charlotte, North Carolina, presented a fine rendition of Gioacchino Rossini's Il Barbiere di Siviglia in a production staged by Bernard Uzan. Hilariously funny, it did not lapse into slapstick comedy but, instead, sparkled with joyous effervescence and perfect timing. Allen Moyer's inventive sets, built originally for Minnesota Opera, were combined with appropriate costumes to form the background for an enjoyable show. Music Director, James Meena, led the Charlotte Symphony at a brisk pace which did not faze the musicians in the slightest degree. They played accurately and with excellent Rossinian style.

Not only was the Almaviva, Paul Austin Kelly, a dashing suitor, he proved his mettle as a comedian, especially as the substitute music teacher. He has a young, flexible voice and he sang with beautifully shaped, resonant tones. Oziel Garza-Ornelas was a visually strong, but thick toned Figaro. He romped through the 'Largo al factotum' but had more difficulty with the later fast paced ensembles.

The Rosina, Vivica Genaux, was her usual brilliant self. Her secure technique and burnished tonal quality made the role seem easy, as she tossed off her coloratura with aplomb and handled her comedic stint with consummate skill. Dale Travis sang the role of Dr. Bartolo with fine musicianship and a flair for comedy as he waddled around the stage in his pink suit. Kevin Bell was a sonorous, deep-voiced Basilio who gave a fiendishly fluent account of the joys of spreading slander. The smaller roles were also well cast and the end of the evening at the Belk Theater came much too soon.

The San Diego Opera's Don Pasquale: (left to right) Ying Huang as Norina, Bruno Pratico as Don Pasquale and Christopher Schaldenbrand as Malatesta

Photo: © Ken Howard, 2002

For a co-production by San Diego Opera, with companies from Kentucky, Texas, Arizona and Canada, director David Gately changed the locale of Don Pasquale from Rome to Monument Valley, Arizona. Thus, the sets by Tony Fanning, who recently won an Emmy Award for art direction on the television show, The West Wing, were reminiscent of classic western movies and television shows. This theme was further carried out in the props and the attractive, authentic costumes by Helen E. Rodgers.

Ying Huang as Norina and Christopher Schaldenbrand as 'Doc' Malatesta

Photo: © Ken Howard, 2002

The star of this show was the promising young tenor, Matthew Polenzani, who sang Ernesto. The winner of a Richard Tucker Foundation Career Grant in 2000, Polenzani showed the San Diego audience why he has been garnering major awards for the past few years. His is not the largest voice to be heard these days, but it is of adequate size to deal with the Civic Theater's less than perfect acoustics. Most importantly, he uses it with consummate skill and his tones have a rarely heard warm, golden, Italianate quality.

Opposite him was the Chinese soprano, Ying Huang who also has a warm and pleasing sound. She sang her difficult music cleanly with an even voice that has an unusual amount of color, even in the highest notes. She also contended well with the detailed staging which had her putting on a belt, playing with a gun, coiling a whip and donning a hat while singing the aria 'So anch'io la virtù magica.' Her voice was a good match with Polenzani's and their closely harmonized duet at the end of the opera was a gem to be remembered for a long time.

Bruno Pratico as Don Pasquale

Photo: © Ken Howard, 2002

In the title role of Don Pasquale, bass baritone, Bruno Praticò showed that he is an able comedian and he presented an excellent characterization of a man who does not realize that he has grown old and unattractive. Christopher Schaldenbrand, the Dr Malatesta, sang impressively and was an integral part of the joyful hi-jinks. With Edoardo Müller conducting, the San Diego Opera orchestra played Donizetti's ebullient score with all the verve and lightness it deserves. It was truly a gala evening and the audience went home humming the composer's irresistible tunes.

Ying Huang as Norina and Matthew Polenzani as Ernest in Don Pasquale in San Diego

On April 7 the Opera Company of Philadelphia presented Vincenzo Bellini's I Capuleti e i Montecchi, an opera that the composer and his librettist, Felice Romani, put together quickly to replace one commissioned from Giovanni Pacini that was not ready on time. Romani reworked a libretto written for Nicola Vaccai and Bellini reused music from his unsuccessful opera, Zaira. With this rather poor background it is a surprise that I Capuleti is such a finely crafted piece of work, but composers and librettists were expected to work fast in the early 19th century.

The production by Kay Walker Castaldo was a fairly traditional one, but with a few flights of fancy that aided her storytelling, as did the fittingly beautiful sets by Boyd Ostroff. In the title role, mezzo-soprano, Ruxandra Donose looked the part of a young man and sang with expressive, caramel creme tones. Not only is her technique secure, she acts well with her voice. The only additional thing one might have asked from her was a bit more volume in the ensembles. Anna Netrebko sang Giulietta with a good sized voice, an accomplished technique and smooth pearly tones. Although her singing seemed effortless and was always in tune, she did not imbue her character with the passion one might expect of an Italian girl in love.

The other roles: Tebaldo, sung by Mischa Didyk, Capellio sung by Mark McCrory and Lorenzo sung by Brian Janhianen, were more than adequate, but not up to the level of the two leading women. The conducting, however, was a considerable improvement over what has generally been heard from this company. Although Maurizio Barbacini occasionally had some trouble keeping his players synchronized with the singers, the overall impression was favorable and the regular Philadelphia opera goers appeared to be thoroughly impressed with this performance.

May

Wagner's Der fliegende Holländer at San Diego: the San Diego Opera Chorus and Jospeh Hu as the Steersman (front, center)

Photo: Ken Howard

On May 1 the Houston Grand Opera presented Camille Saint-Saëns Biblical epic, Samson et Dalila, with a spectacular cast in an exotic setting reminiscent of a Cecil B De Mille movie. Stage director, Nicholas Joel, told the ancient story dramatically with richly colored costumes by Carrie Robbins and scenic designs by Eric Vigié which included a silk tent for the temptress, an imposing temple and a malevolent statue of the Philistine god.

Mezzo-soprano Denyce Graves, who is well loved by Texas opera-goers, returned to Houston after a six year absence. She looked like a movie star and sang with smooth, powerful, dark tones. Her seduction aria, 'Mon coeur s'ouvre á ta voix' was glorious and the audience, like Samson, fell completely under her spell. New to the United States, tenor, Sergej Larin showed the Texas audience that he has both the voice and the physique for this important role. He was a believable strong man with his sturdy, muscular build and his sonorous voice was especially effective in handling the role's lyrical passages.

Houston Grand Opera's Samson et Dalila: Denyce Graves and Sergej Larin in the title roles, with Oren Gradus as the Old Hebrew (right)

Photo: George Hixson

Former and current Houston Grand Opera Studio artists were to be seen everywhere in this production. Greer Grimsley sang the High Priest of Dagon with ringing tones as he convinced the sultry beauty to deceive the Israelite. Joshua Winograde was an eloquent Abimelech, while Oren Gradus, James Halloway, Aaron Judisch and Scott Scully acquitted themselves well in smaller parts. Swiss conductor, Philippe Jordan, who will make his Metropolitan Opera debut at the end of this year, brought out the vibrant colors of this spirited French score and the HGO Orchestra responded with accurate, lucid and emotionally charged playing.

Samson et Dalila in Houston:Greer Grimsley as the High Priest and Denyce Graves as Dalila

Photo: George Hixson

Celebrating his 100th production in Houston, chorus master, Richard Bado, coaxed beautiful harmonies from his singers. Only the ballet, dancing choreography by Daniel Pelzig, seemed to lack the appearance of unrestrained abandon achieved by the singers and instrumentalists. The performance of this work on May 10 was not only given in the house but also televised to the Plaza outside where both opera fans and people new to the art could enjoy a free sample of what this fine company has to offer.

Samson et Dalila in Houston: Sergej Larin and Denyce Graves in the title roles

Photo: George Hixson

For the first time in its nineteen year history, Opera Colorado staged a Russian opera, Pyotr Ilyich Tchaikovsky's Eugene Onegin, on May 4. Wearing the additional hat of stage director was the company's Artistic Director, James Robinson, who introduced some modern staging techniques in an otherwise traditional setting. Bruno Schwengl's decor was simple, using a backdrop of characteristically Russian birch trees behind appropriate furniture for the various scenes. Adam Silverman added more interest with his unusual lighting which included fixtures that could be seen by the audience.

Mel Ulrich gave a many faceted portrayal of Onegin. Tall, dark and regal in bearing, one had no trouble believing that Tatyana could become infatuated with him as his expressive baritone voice rang out to the highest reaches of Boettcher Hall. As Tatyana, Emily Pulley was a fitting match for him and her characterization was no less well thought out. She, too, has youthful good looks and a gleaming soprano sound which brought her thunderous applause at the end of the Letter Scene. Andrew Richards has a buttery-smooth lyric tenor and he imbued Lensky with both subtlety and passion. Playing opposite him, as an adolescent, naive Olga was Mary Ann McCormick, the possessor of a polished mezzo voice.

Opera Colorado's production of Eugene Onegin

Photo: P Switzer

Mikhail Kit, the only Russian in the cast, set the language standard and the young American singers' diction held up quite well in comparison. Kit's Gremin convinced you that, although he was an older man, he had sufficient charm to attract a younger wife and his rich, colorful low tones were secure and impressive. The smaller roles were all well performed, especially that of M Triquet as played by William Saetre who indulged in humorous overblown mannerisms.

Choral singing is important in any Russian opera and, under the leadership of Ruth Baker, the Opera Colorado Chorus turned in a first rate performance. Instead of a ballet, Robinson interpolated a funereal procession by the party guests, a disappointment to those expecting to see the well loved polonaise danced by a ballet company. However, the orchestra's playing of the piece, like the rest of the opera was excellent, as was the conducting of Stewart Robertson. The management of Opera Colorado took a risk staging its first Russian piece and they are to be congratulated for expanding the state of the art in the Rocky Mountains.

Eugene Onegin in Colorado; from left to right, Emily Puley as Tatyana and Marcia Ragonetti as Madame Larina, Andrew Richards as Lensky and Mel Ulrich as Onegin

Photos: P Switzer

On May 11 the Michigan Opera Theater presented its first production of Leo Delibes exotic opera, Lakme. The production had been planned as a vehicle for the Korean star coloratura, Sumi Jo, but she fell ill just before rehearsals began. Because there was also an alternate cast featuring the Turkish-Canadian soprano, Aline Kutan, the show went on as planned with Kutan singing all the performances. Utilizing sets from the New Orleans Opera and costumes from the Lyric Opera of Chicago, director Joshua Major's production emphasized the difficult conditions experienced by native people under British rule in his straight forward telling of the story.

Kutan is a gifted lyric soprano with a beautiful high extension and her gleaming coloratura fireworks in the famous 'Bell Song' elicited a long burst of applause. Another highlight of this often excerpted opera is the duet that Lakme sings with her attendant, Mallika. Here Kutan was joined by Indian-born mezzo, Priti Gandhi, whose burnished gold tones added gorgeous harmonic balance to Kutan's silvery high notes.

Tenor, William Burden, is well versed in French operatic style and his lyric voice easily encompassed the demands of the role of Gerald. His fellow officer, Frederic, as interpreted by Michael Mackenzie, became a suave living character rather than a stereotype and Nilakantha, too, came to life as portrayed by the powerful bass, David Michael. The chorus was well prepared and the dances by Michigan's Hindu Temple Rhythm Dancers were beautifully stylized and totally authentic. Mark D. Flint's conducting was sensitive to French style but his orchestra was occasionally hesitant, leading one to believe that the players needed a bit more rehearsal. The overall impression, however, was good and Detroit's lovers of French opera showed their appreciation with long curtain calls at the end of the evening.

Der fliegende Holländer at San Diego: Robert Hale as the Dutchman

Photo: Ken Howard

San Diego Opera does not do a great deal of Wagner and for them to give a quasi-abstract version of Der fliegende Holländer, as they did on May 14, was a true departure. Director David Edwards, applied some new techniques to traditional sets originally designed for the New Orleans Opera, selecting some sections to use in their original places, others to reposition and a few to reject. He had new pieces created, as well, including a striking, loose-hanging red silk drop. The most unusual aspects of the production, however, were the rectangles of brightly colored light which appeared and disappeared periodically as part of the backdrop.

Rita Cullis as Senta: Der fliegende Holländer at San Diego

Photo: Ken Howard

The three principal singers were outstanding. Robert Hale who portrayed the Dutchman, is an accomplished Wagnerian. He gave an excellent depiction of his character and sang with powerful, resonant tones which easily surmounted the heavy orchestration. Rita Cullis, a British soprano who has quite a few Wagnerian roles under her belt, gave an apt portrayal of Senta. She sang with expressive but steel-timbred tones that easily cut through the orchestral accompaniment and her character gave the impression of being totally mesmerized by the mysterious stranger.

Tenor, John Keyes, was effective as the suitor whose cause is lost for no reason that he can understand, and bass, Daniel Sumegi, was a dark voiced but easy going Daland. Mezzo-soprano Ilse Apéstegui, fresh from the San Diego Ensemble, showed us a Mary who could keep her group of spinners working with very few breaks while singing clearly and with excellent diction. The only weak link in the cast was the Steersman, Joseph Hu, who seemed to have technical trouble with his solo. Conductor Karen Keltner, celebrating her twentieth anniversary with the company, had a lyrical approach to the early Wagner score and the orchestra responded with accurate, proficient playing that produced an opulent sound.

The Dutchman's ship: San Diego opera's Der fliegende Holländer

Photo: Ken Howard

On May 25 the Florentine Opera of Milwaukee, Wisconsin, assembled an excellent cast for Der Rosenkavalier, a Richard Strauss work known for the soaring lines of its ensembles. Kirstin Chávez, singing her first Oktavian, has a rich lustrous mezzo sound, good stamina and fine acting ability. She created an astute characterization as the ardent young lover and her creamy, dulcet tones harmonized beautifully with the ethereal, floating soprano notes of the Marschallin and Sophie.

Veteran soprano, Elizabeth Hynes, played the Marschallin as a worldly-wise matron approaching middle age gracefully, if not with acceptance, knowing that her teen aged lover will soon find a younger woman. She projected her character with great skill and used her gleaming voice to phrase her lines with elegance. Jane Giering de Haan has the light and seemingly fragile voice needed to portray the young girl, Sophie, with whom Oktavian eventually falls in love. With charming demeanor and beauty of tone, she had the audience eating out of her hand. John Cheek's strong bass gave weight to the role of Baron Ochs and Philip Webb's beautifully sung Italian Aria also added to the enjoyment of the evening. Peter Strummer gave an apt portrayal of Sophie's nouveau riche father, while Douglas Perry and Kitt Reuter-Foss were amusing as the shady Italian couple.

Joseph Rescigno conducted this bittersweet opera with sensitivity, keeping a high degree of transparency throughout the complex Strauss orchestration. His treatment of the waltzes was masterful and transported the audience to Old Vienna for a wonderful time. Let's hope this cast is brought together again soon.

June