Maria Nockin's Letters from America January to June 2004 January Manuel de Falla's El amor brujo at the Dallas Opera: Denyce Graves (left) as Candelas and Maria Benitez as Dancing Candelas Photo: George Landis The Dallas Opera knows that the best way to attract a great diva is to offer her an unusual work that allows her to show her particular talents to the best advantage. On January 9, the Texas company presented Denyce Graves in two early 20th century pieces by Spanish composer, Manuel de Falla: the sung ballet, El amor brujo, and the lyric drama, La vida breve. The evening was a complete triumph for the mezzo-soprano who excelled in every aspect of both the ballet and the opera. Here is a singer with a sumptuous middle voice and plum colored low tones who exudes sensuality. Not only did she sing beautifully, she acted believably and danced gracefully. These de Falla works were the perfect vehicle for Graves' extraordinary abilities. El amor brujo: Denyce Graves (left) as Candelas and Maria Benitez as Dancing Candelas Photo: George Landis El amor brujo, usually translated as 'Love, the Magician', is basically a ballet with sung accompaniment, but in this performance the part of the heroine, Candelas, was portrayed on stage both by Graves and by the well known Flamenco dancer, Maria Benitez. Benitez added much visual interest to the evening with her exciting choreography and emotionally charged dancing. Maria Benitez's dancers in Dallas Opera's production of Manuel de Falla's La vida breve Photo: George Landis La vida breve, presented after intermission, showed Graves as an expressive, enchanting Salud whose legato singing encompassed a palette of gorgeous colors and idiomatic Spanish textures. Her lover, Paco, was avidly portrayed by Jorge Antonio Pita who sang with great panache. Donny Ray Albert was a strong, dark voiced Uncle Sarvaor and José Luis Duval was a memorable flamenco singer. As Salud's Grandmother, Nancy Fabiola Herrera was emotionally moving and vocally eloquent. Originally staged by Bliss Hebert in 1993, the production had a starkly modern set by Charles Allen Klein that provided a good background for the artists' magical portrayals. The chiaroscuro red lighting by Marie Barrett added to the intensity of the picture. Under the most capable leadership of Nicolae Moldoveanu, the Dallas Opera Orchestra played with great fervor and tonal accuracy. Puccini's Turandot at the San Diego Opera: Anna Shafajinskaia in the title role Photo: Ken Howard On January 27 the San Diego Opera presented Lotfi Mansouri's spectacular production of Giacomo Puccini's Turandot with Ukrainian soprano, Anna Shafajinskaia, in the title role. A winner of the Pavarotti International Competition, she has a voice that can cut through the orchestration with lazer-like accuracy. She is attractive on stage and she moves with a natural grace. Singing with lustrous silvery tones, she was aristocratic and commanding until Calaf won her love, but she responded in a completely feminine manner during the duet with which Franco Alfano finished Puccini's score. Shafajinskaia has a large, well schooled voice and it will be interesting to see how far into the operatic firmament she can climb. Mansouri's production features David Hockney's colorful sets and Ian Falconer's ornate costumes. It is one of the most imaginative conceptions of this opera to be seen, with its bright colors, varied sets and gold encrusted attire. This opera offers an opportunity to pull out all the stops and San Diego Opera did exactly that. The stage was often filled with choristers, extras and even included a team of acrobats from the Fern Street Circus. Turandot: Scott Hendricks as Ping questioning Ai-Lan Zhu as Liu Photo: Ken Howard Dario Volonté was an energetic Calaf with a healthy, robust sound, who made his character come to life on stage. His passionate 'Nessun dorma' was sung with honeyed tones. Chinese soprano, Ai-Lan Zhu, who is a fine actress, gave a well thought out portrayal of Liu, the servant girl. She sang sweetly and made good use of dynamics. Having Maxim Mikhailov in the role of Timur was truly luxury casting. His elegant bass voice was a delight to hear and audience members were heard to say that they wished he had more to sing. Ping, Pang and Pong were admirably interpreted by Scott Hendricks, Beau Palmer and Joseph Hu, while Joseph Pechota was an officious Mandarin and Joseph Frank was an appropriately elderly Emperor. Timothy Todd Simmons, the chorus master, did a fine job with his group. They were together and in tune at all times. Conductor, Edoardo Mueller, brought Puccini's final masterpiece to life with a translucent reading of the score and he was always attentive to the needs of the singers. Anna Shafajinskaia as Turandot and Dario Volonté as Calaf at the conclusion of the opera Photo: Ken Howard Arizona Opera's January presentation was the David Gately production of Gaetano Donizetti's Don Pasquale which is set in late 19th century Arizona. Tony Fanning's sets and props were extremely detailed, in keeping with the time, and the elaborate costumes by Helen Rogers were accurate and attractive. This is an ensemble piece and all the artists involved were of a very high caliber. They played well off each other and had the audience laughing through much of the evening. Tracy Dahl was a delicious Norina who could be capricious and even caustic when it was to her advantage. She also has a true, reliable trill! Bass, Matthew Lau, in the title role, made light of the considerable difficulties of his part and sang with great eloquence while Keith Phares was a wily Dr Malatesta who poured out floods of tone in effortless Italianate style. John Tessier, who sang Ernesto, has a beautiful lyric voice with burnished high notes and an excellent technique. He gave a heart warming portrayal of this young suitor and I hope we will get to hear him in other roles. Andrew Gray was a bumptious comic notary. Dead pan comic, Robert Dahey, was hilarious as the servant, Hop Sing. Conductor, Steven White, varied his tempi widely and most of the time held all his forces together, but he might have elicited more accurate playing and singing if he had slowed his pace ever so slightly during some of the faster sections of the piece. Arizona Opera's Don Pasquale: Tracy Dahl as Norina and John Tessier as Ernesto Photo: Tim Fuller The Seattle Opera presented an unusual production of Carmen in its new Marion Oliver McCaw Hall on January 10. James Robinson is a controversial director whose concept of this opera revolves around Carmen's lover, Don José, and his mental disintegration rather than some aspect of the title character. The opera opens with designer, Allen Moyer's traditional setting, but as the opera unfolds, José's grip on reality weakens and the entire production become more and more abstract. Paul Charles Clarke was a handsome José who gave a fine account of the emotionally disturbed soldier. He sang ardently with glinting tones but was occasionally overpowered by the orchestra. Stephanie Blythe is not a mezzo-soprano usually associated with the role of Carmen, but she gave a fiery portrayal of the Spanish Gypsy. Vocally, she was completely in her element and her warm, lustrous voice with its contagious charm made her performance a rousing success. Robert Salvatori was a swaggering Escamillo who seemed lacking in vocal resources on this particular evening. Marie Plette, on the other hand, was a silvery voiced Micaela and a worthy foil for Carmen. As Frasquita and Mercedes, Heather Parker and Rosemary Alvino added vocal color and dramatic verve to their scenes. William Saetre was a sinister Le Remendado and Scott Hogsed, a fearsome Le Dancaïre. The Seattle Symphony, under the direction of George Manahan, played this beloved score with accuracy and in excellent French style. On January 9 Austin Lyric Opera, under its new Artistic Director, Richard Buckley, presented Leon Majors' updated conception of Wolfgang Amadeus Mozart's Cosi fan tutte. In this production the story has been transported from 18th century Naples to San Diego's beach front Hotel del Coronado in the peaceful time immediately preceding World War One. The action was staged on Allen Moyer's charming, two-story veranda-like set and the piece was performed without recourse to the type of slapstick comedy sometimes seen in this gentle opera. The beautifully styled, early 20th century costumes by David O Roberts also helped set the mood of the piece. In this particular production the vocal honors went to Dorabella, sung with velvet tones by Priti Gandhi, and Guglielmo strongly interpreted by Malcolm Mackenzie. Gandhi has an easily produced lyric mezzo soprano voice with a luscious middle register and Mackenzie has a warm, robust baritone sound which he used with great skill. Both are experienced at stagecraft and they brought their characters to vibrant life. Soprano, Brenda Harris, was a feisty but feminine Fiordiligi whose sound was somewhat metallic, but flexible and she embellished her part tastefully. As Ferrando, John McVeigh was an appealing lover who sang with clarity. The highly esteemed veteran performer, Francois Loup, was a stentorian voiced and commanding Don Alfonso who embodied the concept of the cynical, aging bachelor. Cheryl Parrish was an effervescent Despina with excellent coloratura. Conductor, Valery Rivkin, gave a crisp and rhythmically astute reading of the score and there were only one or two moments when all his forces were not perfectly coordinated. This performance and the company's earlier Turandot have set a fine precedent for Maestro Buckley's tenure in his new post. The Wagner Society of Los Angeles gave a concert to raise funds for a recording of Tristan and Isolde in a time when few operatic CDs are being issued by major companies. The concert presented selections from the opera, most notably the love duet from Act II, as sung by the principals who will be heard on the discs, Mark Deaton as Tristan and Susan Marie Pierson as Isolde. Deaton, who is known in Europe and parts of Asia for his portrayals of heavy roles including Otello, is a worthy Tristan with a sonorous dramatic sound. Pierson, known in the United States for Brünnhilde, Salome and Elektra, easily proved that she can take on the Irish princess and in the duet her voice rang out with clear, well projected, dulcet tones. The CD's that will be recorded live next month should be a welcome addition to any Wagner collection. © Maria Nockin, 2 February 2004  February Isabel Bayrakdarian as Leïla in San Diego Opera's production of Bizet's Les pêcheurs de perles Photo: Ken Howard On St. Valentine's Day, February 14, San Diego Opera presented its premiere of Georges Bizet's Les pêcheurs de perles. The production was directed by Andrew Sinclair who told the story in a straight forward manner. The decor and costumes were by English fashion designer, Zandra Rhodes, who delighted the audience with a brightly colored love feast, a banquet for the eyes. Most of her scenery was originally drawn with colored pens on rice paper and each costume was individually created. The stage picture was enriched by Ron Vodicka's atmospheric lighting. Since this unusual production will be traveling to San Francisco and NYC, we can expect to hear more about it. Les pêcheurs de perles: Michael Schade as Nadir and Isabel Bayrakdarian as Leïla Photo: Ken Howard Everyone knows the famous duet from this opera, but conductor, Karen Keltner, was able to find other melodic treasures in the work. Her reading of the score was cohesive, seamless and translucent. Tenor, Michael Schade, has a well schooled voice with golden high notes that were evident all evening. Russell Braun sang the baritone role of Zurga with lustrous, resonant tones and the voices of the two men blended exquisitely in the duet. As Leila, Isabel Bayrakdarian was a vision of loveliness. She is a capable soprano with a rich clear soprano sound and an even trill. Brazilian bass, Jose Gallisa made an auspicious debut as Nourabad. He sang with resounding deep tones and he brought his character to life.The chorus sang elegantly and acted as individual villagers, while the dancers from John Malashock's company gave an energetic performance of his somewhat primitive choreography. Les pêcheurs de perles: Michael Schade (left) as Nadir and Russell Braun as Zurga Photo: Ken Howard On February 13, the Metropolitan Opera revived its 1973 Jean-Pierre Ponnelle production of Gioacchino Rossini's L'Italiana in Algeri and its North African styled lattice work made a good background for the comic routines of director, David Kneuss. This year's cast had little difficulty with Rossini's music and seemed to enjoy cavorting around the stage while singing it. Conductor, James Levine, kept all his forces in excellent synchronization and gave a brisk, translucent reading of this gorgeous piece, while paying attention to the needs of the singers. The only problem of the evening was an occasional ragged entry by the chorus. The Met orchestra played wonderfully well as usual. Rossini's L'Italiana in Algeri at the Met: Olga Borodina as Isabella Photo: Marty Sohl In the title role of the Italian girl, Isabella, Russian mezzo-soprano, Olga Borodina, showed more comedic ability than one might have expected. She sang with voluptuous sounds, especially in the lower register, but she occasionally slurred some of the faster notes of her coloratura roulades. Her best moments came in the Act II aria, 'Pensa alla patria,' during which she emitted floods of glorious tone. Peruvian tenor, Juan-Diego Flores, sang with a sweet sound and incredibly accurate technique. He sang Rossini's most florid music with seeming ease and ornamented his part tastefully. He is also an experienced, skillful comedian and his Lindoro was a character whose antics were fun to watch. As Mustafa, Ferruccio Furlanetto sometimes stole the show with his large, resonant buffo voice and comic ability. Earle Patriarco was an able Taddeo and Lyubov Petrova a silver toned Elvira. Outstanding among the singers of smaller parts was Mariusz Kwiecien who sang Haly with a honeyed voice. L'Italiana in Algeri: Olga Borodina as Isabella and Ferruccio Furlanetto as Mustafa Photo: Marty Sohl Florida has become a winter oasis for opera lovers. Many companies present performances throughout the state. On February 22, Clearwater's Ruth Eckerd Hall presented the Teatro Lirico d'Europa production of Tosca with an international cast featuring: Victoria Litherland, César Hernández and Valery Ivanov. As Tosca, Victoria Litherland showed that she could act the part of the diva and had excellent control of her large, sumptuous voice as it soared easily over the orchestra. She knows how to utilize dynamics and she captured every aspect of her role. Puerto Rican tenor, César Hernández, sang Cavaradossi with a warm Italianate sound topped with exciting high notes. An excellent actor, he fought his captors every inch of the way in Act II and pulled at the heartstrings of the audience with his 'E lucevan le stelle'. Baron Scarpia was sung by Valery Ivanov who interpreted his character as an unspeakably evil villain who knew when to put on a veneer of good manners. Although his behavior was always suspect, this Scarpia sang with distinctively colored, well projected tones. Hristo Sarafov was a sturdy voiced sacristan who kept trying to steal a drink of wine from the painter's lunch box, but changed his behavior completely when Scarpia entered. The small role of Angelotti was impressively sung by the fine young bass, Alexi Ivanov. Giorgio Lalov's well thought out stage direction brought many nuances of this oft told story to the stage, and Eugene Kohn's full blooded conducting never let the tension sag in the tightly orchestrated Puccini score. The substantial-looking sets by Valentine Topencharov gave an accurate depiction of the actual Roman sites and reflected the voices well. Arizona Opera's production of Sondheim's Sweeney Todd: Buffy Baggott as Mrs Lovett and Stephen Powell as Sweeney Photo: Tim Fuller On February 27 Arizona Opera's offering was Stephen Sondheim's Sweeney Todd in an interesting production by Kelly Robertson. The functional set that allowed the victims to slide down from the upstairs barbershop through a door and out to the pie maker's shop was by Teresa Prybylski, and the intricate 1840's costumes were by James M. Scott. The score contains various types of music and conductor, Brent McMunn, handled all of them with rhythmic precision and attention to detail. John Massaro's chorus was especially well coordinated on this occasion and they sang with great musicality. Sweeney Todd is a brooding, emotionally disturbed man who cannot deal with the blows that life in the London slums has dealt him. Stephen Powell's characterization was human and sympathetic throughout most of the piece, and he almost mesmerized the audience into mentally joining him on his descent into serial killing. Powell is a fine singer and he had powerful music to sing. As Mrs. Lovett, Buffy Baggott had a huge acting part with a great deal of rhymed and rhythmic music but not much to show off the beauty of her lovely mezzo voice. She created a memorable character, however, and was rewarded with copious applause. RobertIan Weintraub was an ardent Anthony Hope as he wooed his love, Joanna. She was played gracefully by charming lyric soprano, Lisanne Norman who sang 'Green Finch and Linnet Bird' with lustrous silvery tones. Korby Myrick gave an outstanding performance as the Beggar Woman. When the show opened she was merely a comic prostitute but as her character unfolded you realized the story behind her sad condition. An excellent mezzo with a many colored dramatic voice, her interpretation was one of the highlights of this performance. It was an interesting foray into modern American music. Sweeney Todd: Buffy Baggott as Mrs Lovett Photo: Tim Fuller On February 13 the Cerritos Center for the Performing Arts (in Cerritos, southern California) presented the Teatro Lirico d'Europa production of Giuseppe Verdi's Il trovatore. The stage direction by Giorgio Lalov brought out the opera's many dramatic scenes in a traditional treatment of the action. Metodi Matakiev, music director of the Bulgarian Radio Orchestra, may not be as familiar in the United States as he is in Europe, but his conducting is absolutely first rate, as anyone who experienced his Boris Godunov last year can attest. He took the Verdi piece at a brisk pace and never let the energy sag while he brought out the varied colors and infinite detail of the score. Best of all, the players in the Sofia Symphony were skilled enough to play this difficult music accurately and with seeming ease. Philip Webb was an ardent, heroic sounding Manrico with bright, ringing high notes and excellent diction, even at the upper extension of his voice. His was a dramatic interpretation that engaged the audience with its fire. As Leonora, Adelina Kaneva sang with a silken, creamy soprano sound. Her acting was skillful and she gave a poignant rendition of her role. Although Azucena is a difficult part to cast, Rumiana Petrova filled the bill with her well controlled, sonorous mezzo-soprano and her virtuoso acting. She sang with immense conviction and her anguished outpouring of emotion convinced the audience of the truth of her strange tale. Sergei Moskalov interpreted the part of Count di Luna with stentorian tones. He was a worthy villain who showed a solid command of his role. Bass, Alexi Ivanov, sang Ferrando with a fine technique and beautifully resonant low notes, while Renete Ganova was an eloquent Inez and Pancho Chopov an admirable Ruiz. © Maria Nockin, 2 March 2004  March Houston Grand Opera's world premiere of The End of the Affair: Cheryl Barker as Sarah, John Cameron Carter as Lancelot, and Robert Orth as Lancelot's father, Parkis Photo: Brett Coomer On March 15 the Metropolitan Opera unveiled a new, modern dress production of Richard Strauss's immensely powerful one-act piece, Salome. The star of this presentation was the lazer-voiced, charismatic Finnish soprano, Karita Mattila who came as close to looking like a teenager as any singer of this role could. Wearing figure hugging costumes reminiscent of the 1930's, she began with a lyrical portrayal of the biblical figure, gradually increasing the dramatic aspect of her role to a fiery intensity as she sang of her desire for the prophet. It was a well thought out, detailed characterization which showed the princess' descent into depravity. Mattila is a very agile singer and she moved with exquisite grace as she recreated Doug Varone's intricate choreography in the Dance of the Seven Veils. Albert Dohmen was a powerful, untiring Jochanaan with a huge voice. He was a worthy adversary for Mattila and he sang with a virile sound that featured robust low notes. Substituting for the ailing Siegfried Jerusalem, as Herod, was the most capable Alan Glassman, a tenor with ringing top notes and the ability to create an aura of corruption around his character. He sang this most difficult part with stentorian tones and easily convinced the audience of his evil intentions. As his consort, Herodias, Larissa Diadkova sang Herodias accurately, but did not create as strong a character as her colleagues. Karita Mattila in the title role in the Metropolitan Opera production of Salome Photo: Ken Howard When you hear a voice like that of Matthew Polenzani you want to listen to him all evening. Unfortunately, on this occasion he was singing the short part of Narraboth, but his splendid voice sailed easily over the large orchestra and he left the audience wanting to hear more. Among the other fine young singers with small parts in this production was Richard Bernstein who sang the second soldier. Morris Robinson was a warm voiced First Nazarene and Charles Edwin Taylor, who will be singing Sharpless in the Met performances of Madama Butterfly in the New York parks this summer, was an excellent Second Nazarene. The contemporary production by Jürgen Flimm utilized substantial looking sets by Santo Loquasto who also designed the attractive costumes. The instrumentalists in the Met Orchestra are probably the best musicians playing opera today and, under the direction of Valery Gergiev, their interpretation of the intricate Strauss score was absolutely flawless. Die Frau ohne Schatten at the Los Angeles Opera: (left to right) Wolfgang Brendel as Barak, Linda Watson as Barak's wife, Inga Nielsen as the Empress, and Robert Dean Smith as the Emperor Photo: Robert Millard On March 10 the Los Angeles Opera presented a revival of Richard Strauss's rarely seen work, Die Frau ohne Schatten. Also given at Covent Garden, this production was designed in 1994 by David Hockney who, unfortunately, has now given up opera work because of problems with his hearing. His work provided a colorful background for this fairy tale, utilizing clear bright poster colors that were appropriately lit in varying degrees of brightness by Alan Barrett. Stage director, Patrick Young, brought out the other-worldliness of the story and his plans worked well for every scene except the one in which the Emperor turns to stone. That needed to look more mysterious to be effective. Outstanding among the performers was Doris Soffel. Her character, the Amme or nurse, is inhuman and basically evil, making the role difficult to portray, but Soffel proved a master of movement and stagecraft, as well as a fine mezzo-soprano. She had a charismatic command of the stage as she acted with both body and voice. Hers was a mesmerizing performance of a long and difficult role. Although Inge Nielsen is not a dramatic soprano, her cool timbred, silvery voice projects well and she effectively conveyed the Empress's anguish across the footlights. As the Emperor, Robert Dean Smith sang with conviction and excellent knowledge of the style of the work. His is a sturdy tenor and his voice rang out brilliantly. Die Frau ohne Schatten: Robert Dean Smith as the Emperor Photo: Robert Millard Wolfgang Brendel is a baritone with a wonderfully rich, warm sound that made everyone in the audience empathize with the plight of the dyer. A skillful actor as well, he was the perfect choice for this role. Linda Watson made a real person of the dyer's wife with powerful, honey-colored tones. Even when expressing discontent, her voice remained well controlled and she excelled in the lower lying passages of the part. A more flattering costume would have helped, but she made the most of her role. The many small parts in this opera were all well done. Among the best were: James Cresswell as the spirit messenger, Joohee Choi as the keeper at the gates and Brian Asawa as the apparition of a youth. Conductor, Kent Nagano, and the LA Opera Orchestra were truly the stars of this evening. The strings played with beauty of tone, the woodwinds and brass blended to perfection but played with lucidity when it was called for. No tempo was too fast or too slow and there was palpable musical tension at all times. Nagano is an exceptionally fine leader and it is hoped that he will always devote a portion of his time to Los Angeles. The End of the Affair: Cheryl Barker as Sarah and Teddy Tahu Rhodes as Bendrix Photo: Brett Coomer After the tremendous impact made by Jake Heggie's Deadman Walking, Houston music lovers were waiting for his second opera, The End of the Affair. If, however, on March 4, the audience came expecting the same sort of stark drama, they were not to find it. The new work, based on the novel by Graham Greene, is about the sudden ending of a love affair and it is subtle and intellectual rather than dramatic. The libretto by Heather McDonald, is well put together but, like the novel, it lacks a sharp emotional punch. The music, on the other hand, is very accessible with charming duets and ensembles. Although this work does not have the dramatic solidity of Heggie's first opera, it has its own charm and may deserve a place in the repertoire. An ethereal, moody chamber opera with music in several styles, including jazz and a soothing lullaby, under the leadership of conductor, Patrick Summers, the score was shaped into an atmospherically intense, poetic piece. Director, Leonard Foglia, captured the attention of the audience in the first scene by having the leading couple make love in a church with a huge stained glass window, but he seemed to lose some of his focus as the story progressed. The 1940's costumes by Jess Goldstein conveyed the feeling of the period and the superb lighting design of Donald Holder contributed much to the success of the evening. The End of the Affair: Cheryl Barker as Sarah and Teddy Tahu Rhodes as Bendrix Photo: Brett Coomer Australian soprano, Cheryl Barker, was an interesting Sarah with a clear, silvery voice, but she was not quite able to communicate the depth of her character's sensuality. Her aria with its many high notes was well sung, however, and became the most memorable piece of the evening. Stalwart baritone, Teddy Tahu Rhodes, gave a portrayal of the spurned lover, Maurice Bendix, and he again proved why he is at the top of his profession. Sarah's straight laced husband, Henry, was unbendingly portrayed by Peter Coleman-Wright and Robert Orth was an interesting, cockney-accented detective. Two local music professors made up the rest of the cast. As Sarah's mother, mezzo, Katherine Ciesinski, was a comical, somewhat vulgar senior citizen desperately trying to get a man. The other teacher, tenor, Joseph Evans, gave a powerful portrayal of the rationalist who sings of there being no God. The End of the Affair: Cheryl Barker as Sarah, and Peter Coleman-Wright as her husband, Henry Photo: Brett Coomer Arizona Opera closed the Phoenix portion of its 2003-04 season with sold out performances of Giacomo Puccini's La bohème at Symphony Hall. In this production Michael Cavanaugh told the tale in a traditional manner, but between some scenes he added excerpts from Murger's original story to the titles. Peter Beck's realistic set featured a severely raked floor with an upper level for some scenes. Malabar of Toronto supplied the many colorful costumes that helped establish the period in which the story took place. The most outstanding performer in the March 18 performance was Patricia Risely who sang Musetta. She played her character as someone who can be fun loving and flighty, but who, in truth, cares deeply for the welfare of her friends. She has a well produced voice, she made excellent use of dynamics and she sang a spirited, energetic, well-focused waltz song. La bohème at the Arizona Opera: the Café Momus Photo: Tim Fuller Nicolle Foland was an attractive Mimi who tugged at the audience's heart strings from her first scene. She sang her arias with a beautiful legato and was well matched with the Rodolfo of tenor, Joseph Wolverton. He was a concerned suitor and sang with beautifully Italianate tones that, unfortunately, were sometimes covered by the orchestra. He is a fine artist, however, and his acting was most convincing, especially in the bittersweet moments of Act III. La bohème: Joseph Wolverton as Rodolfo and Nicolle Foland as Mimi Photo: Tim Fuller Gordon Hawkins was a fun loving Marcello who sang with a sturdy voice. The role of Schaunard was taken by Robert Ian Weintraub, a young baritone with a bright future. He has a pleasant voice bolstered by a good technique and his ability to portray a memorable character is already apparent. Bradley Garvin was a comical Colline who could have put a bit more energy into his aria. Principal conductor, Cal Stewart Kellogg, led the orchestra in a generally supportive rendition of the beloved score which brought out its more tragic aspects. Next season Phoenix's Symphony Hall will be completely refurbished and we can hope its acoustics will be improved when it is finished. La bohème: the death of Mimi with (left to right) Patricia Risely as Musetta, Gordon Hawkins as Marcello, Nicolle Foland as Mimi, Bradley Garvin as Colline, Joseph Wolverton as Rodolfo, and Robert Ian Weintraub as Schaunard Photo: Tim Fuller Virginia Opera is fast becoming known for featuring German operas that are not often done by regional opera companies. This month artistic director, Peter Mark, chose to present Beethoven's only opera, Fidelio, in an interesting conception by stage director, Lillian Groag. She told the story of Florestan's rescue from unjust imprisonment in an intriguing contemporary setting that showed the hopelessness of life under a stern dictatorship. Michael Ganio's set was dominated by huge, insurmountable prison walls that permitted only the smallest encroachment of nature in the form of a few palm trees. The cast of this company's first presentation of the Beethoven opera was headed by the soprano who sang Brünnhilde in its Die Walküre last season, Susan Marie Pierson, and her bright, powerful soprano easily surmounted the challenges of the role. She was especially successful in bringing out the humanity of the young wife who will stop at nothing to free her husband. At first her character shows some uncertainty but she grows in confidence as time goes on, just as the woman who lived this story must have done. Best of all, her clarion top notes embodied the call to freedom that makes this piece so universally esteemed. Although Thomas Truhitte does not resemble a man who has spent any time on bread and water recently, as soon as he began to sing you were convinced of his rightness for the role of Florestan. He captured the prisoner's desperation in his opening aria and convinced the onlooker of his perilous plight. He and Pierson make an attractive couple and their voices blended beautifully in the ensembles. Charles Robert Austin was an impressive Rocco. The beauty of his voice, together with his well honed technique, enabled him to portray a recognizable character who can be tempted but eventually returns to his moral values. He was another solid anchor for this excellent performance. As Marzelline, Serena Benedetti sang with a well focused lyric soprano voice and she proved to be a talented actress. Her portrayal detailed both the coquetry and the strength of her character. Timothy Oliver was a comical Jacquino and his light tenor sound provided a good contrast to the many heavy voices in the cast. Derrick Parker's Pizzarro was a frightening megalomaniac who seemed liable to explode into violence at any moment. The Virginia Opera chorus sang with passion as they gave evidence of the enduring hope that keeps the human spirit alive in the worst of circumstances. Conducting this performance was the company's artistic director, Peter Mark, who kept a brisk pace, sometimes asking the artists to go faster than what was comfortable for them, but he held his many forces together and brought about an extraordinary evening for the Virginia audience. © Maria Nockin, 1 April 2004  April Houston Grand Opera's Il barbiere di Siviglia: Earle Patriarco as Figaro Photo: Brett Coomer On April 20 San Diego Opera presented Leos Janacek's dramatic blockbuster, Kát'a Kabanová. Company general manager and stage director, Ian Campbell, gave his audience a well crafted, traditional production that told the tragic story in a straightforward manner. Jane La Motte's sets invoked the old world of Russian Orthodox Christianity but combined it with an image of a bird in free flight, giving a clear visual representation of Kát'a's dilemma. The costumes by the late Maria Bjornson were simple and effective, showing the fashions of the period in which the opera, based on Aleksandr Ostrovsky's 1859 play, The Thunderstorm, takes place. Kát'a Kabanová at the San Diego Opera: Priti Gandhi as Varvara with Doug Jones as Vanya Photo: Ken Howard Conductor, John Fiore, elicited a spirited performance from his orchestra, bringing out all of Janacek's lyrical folk melodies and the nuances of his lush orchestration. The orchestra, rearranged for these performances to bring the woodwinds forward, played with clarity and accuracy, making this rendition as perfect as anyone could wish for. As Kát'a, Patricia Racette sang with warm lush tones and strong dramatic colorations when they were called for. Her charismatic acting lit up the stage and underlined her passionate singing. Here, the sensitive, vulnerable Kát'a was no match for her predatory mother-in-law. Because her romantic spirit needed at least a modest degree of freedom to exist, she preferred death to life as a psychological prisoner. Kát'a Kabanová: Patricia Racette in the title role and Priti Gandhi as Varvara (left) Doug Jones, as Vanya and Raymond Very as Boris (right) Photo: Ken Howard Kát'a's husband, Tichon, was strongly sung by Jay Hunter Morris. A sizeable man, he gave an affecting portrait of the weak willed character. Dame Josephine Barstow was a completely unbending Kabanicha whose singing brought out all the emotional content of her tyrannical character. Raymond Very sang with beefy, virile tones as Kát'a's lover, Boris, and the hearty voiced James Scott Sikon was an interesting, properly boorish Dikoi. Kát'a Kabanová: Patricia Racette as Kát'a confessing her infidelity to Jay Hunter Morris as Tichon, and Josephine Barstow as Kabanicha Photo: Ken Howard Varvara, the foster daughter living in that household, was brilliantly sung and incisively acted by mezzo soprano, Priti Gandhi. Her lover, Vanya, was sung with lustrous tones by tenor, Doug Jones, who exhibited a delightful boyish charm. The moments they spent together were the happiest in the story and the audience seemed pleased to see them finally run away to the city. Nicolai Janitzki was a creditable Kuligin, Kelly Gebhardt a sturdy voiced Glasha, and Ilse Apéstegui a formidable, dark-toned Feklusha. Il barbiere di Siviglia: Richard Croft as Almaviva Photo: Brett Coomer Houston Grand Opera invited Australian director, Lindy Hume, to make her US debut with a new and ingenious production of Rossini's Il barbiere di Siviglia which was seen there on April 23. With both simple and ingenious bits of stagecraft, she updated the action to the 1950s, a time that is perhaps becoming overly familiar to American opera goers these days. Designer, Dan Potra, produced sets and costumes that defined the time inventively, even to the point of having Figaro arrive riding a Vespa scooter! The raison d'être for this presentation was the exquisite Rosina of mezzo soprano, Joyce DiDonato, who sang with ringing top notes, a warm smoky middle register and plush low tones. Her coloratura was flawless and she exhibited impeccable technical control. In this production Figaro was Rosina's resourceful hairdresser and Earl Patriarco, who has a definite flair for comedy and excellent timing, sang his part confidently. Il barbiere di Siviglia: (left to right) John Del Carlo as Doctor Bartolo, William Hardy as Ambrogio, and Vladimir Ognovenko as Don Basilio Photo: Brett Coomer As Lindoro, Richard Croft sang with beauty of tone and great flexibility. It's too bad that the usual cuts were not opened up because the audience may have missed out on some truly great singing. John Del Carlo was a properly pompous and resonant Dr. Bartolo. He put his comic part over with gusto and, when forced into submission at the end of the show, he became a vulnerable old man who evoked some sympathy. Vladimir Ognovenko, a rather outlandish, campy Basilio, stole the scene with his rendition of 'La calunnia'. Amy Cofield, too, was a comic success and she sang Berta's tuneful aria energetically while allowing her iron to burn some clothing. Richard Bado always does fine work with the Houston Grand Opera Chorus and this time was no exception. There were no ragged entries or exits and his groups moved well on stage. Under the leadership of Patrick Summers, the opera's orchestra never overpowered the singers. Best of all, its musicians played with well defined rhythms and a great deal of translucency. San Diego Opera's Don Carlo: Sondra Radvanovsky as Elizabetta Photo: Ken Howard San Diego Opera fans have been waiting a long time for a production of Don Carlo and on April 2 they were well rewarded. The outstanding stars of this performance were bass, Ferruccio Furlanetto, who sang King Philip II and soprano, Sondra Radvanovsky, who sang Elizabetta. Despite its title, the opera's plot revolves around the king and his relationships, both personal and official. Furlanetto has a powerful voice with a magnificent warm timbre. His interpretation was convincing and he gave a poignant rendition of the aria 'Ella giammai m'amo'. In his scene with the Grand Inquisitor, he and his opponent were evenly matched, so their duet was memorable. Radvanovsky has a large, supple voice with a bit of metal in it that cuts through the orchestral fabric. It's an exciting sound and she controlled it well, especially in the scene in which she discovered that her jewel box was missing. She poured out well supported, emotion-packed tone and made excellent use of dynamics while never letting you forget she was the queen. Don Carlo: Rodney Gilfry as Rodrigo and Ferruccio Furlanetto as King Philip Photo: Ken Howard As Don Carlo, Sergei Larin gave a finely crafted, passionate interpretation of the Spanish prince. Virtuoso mezzo, Mariana Pentcheva, sang her 'Veil Song' with beautiful, distinctively colored tones and poured out her 'O don fatale' with considerable intensity. Rodney Gilfry was an appealing Posa with a supple voice and a smooth legato. He sang carefully, but ardently, and his death scene was truly moving because of his savvy use of dynamics and effective acting. Louis Lebherz was a menacing Grand Inquisitor who gave the impression that his clerical robes were merely a disguise for a sadistic mean streak. The smaller parts were well done, too. Laura Portune was a lively Tebaldo and her Celestial Voice was radiant with glorious sound. Daniel Borowski was a deep toned monk and Joseph Hu a sprightly Lerma. This production from San Francisco Opera was directed by Lotfi Mansouri, who made a tight presentation out of the work's sprawling libretto. Zack Brown's sets were solid and his finely detailed costumes elegant. Conductor, Edoardo Müller, was supportive of the singers and sensitive to their needs. He also achieved a fine balance between soloists, orchestra and chorus while drawing accurate playing from the San Diego Opera Orchestra. Don Carlo: Ferruccio Furlanetto as King Philip Photo: Ken Howard On April 24, Lyric Opera of Kansas City presented a production of Wolfgang Amadeus Mozart's Don Giovanni staged by Linda Ade Brand who retold the familiar story in such a way that it could easily be understood by every opera goer. R. Keith Brumley's sturdy looking sets utilized red and black to symbolize blood and punishment and Mary Traylor's well fitted costumes were made of elegant fabrics. Conductor, Cal Stewart Kellogg, approached the score at a brisk pace and did not allow anyone to lessen it. It made for an interesting evening, but one or two of the singers might have benefited from an occasional slowing of the tempo. Jeffrey Matsey was a virile, seductive and thoroughly unscrupulous Don Giovanni with a fine command of Mozartean style. Stefano de Peppo's authentic Italian diction, well trained, ample voice and expert comic timing made him a fine Leporello. His catalog aria was both hilariously funny and handsomely sung. Donna Anna, as sung by Cynthia Clayton, was an aristocratic lady whose smoldering passions were only thinly veiled. Her voice has sufficient weight and dramatic color for this part and she handled its most difficult coloratura passages with ease. Indira Mahajan tended to overact as Donna Elvira. She, too, has a voice with an interesting dramatic timbre but, unfortunately, on this evening it lacked adequate flexibility for the coloratura in the aria, 'Mi tradì'. The bright voiced Jeffrey Picon gave an excellent portrayal of Don Ottavio and he sang his arias with resonant tones. The Zerlina, Amy Lynn Grable, was charming and sexy. She sang with a luscious clarity that made her a fine addition to the cast. Jeffrey McEvoy was a boyish, rather uncouth Masetto who gave a good portrayal of an untutored youth. David Bedard was a stentorian and authoritative Commendatore. Every season the Opera Orchestra of New York puts on semi-staged versions of works that are not currently being performed by the city's major companies. This month its presentation was Amilcare Ponchielli's powerful La gioconda starring the well known diva, Aprile Millo, who has a huge, sumptuous voice. She sang with great abandon which delighted her fans. Although her acting was somewhat reminiscent of silent movies, it fitted this late romantic, melodramatic opera and, aside from an occasional problem with intonation, she gave a wonderfully spirited rendition of the role. Tenor, Marcello Giordani who sang Enzo Grimaldo, was said to be recovering from a cold, but his rendition of 'Cielo e mar' was absolutely sensational and the rest of his singing was magnificent as well. It may well be that he does his best singing in roles with slightly lower tessitura than those he has been given at the Met lately. Anooshah Golesorkhi was a properly evil Barnaba with a robust but somewhat grainy voice that fit the role well, and he attacked the most difficult passages of his music fearlessly. Luis Ottavio Faria was a rather light voiced Alvise but he gave a creditable interpretation of his role that made his music interesting to hear. One of the true joys of the evening was the singing of the Dallas Symphony Chorus which was obviously very well rehearsed because all the voices blended beautifully and the whole group seemed to enter and exit as one. Eve Queler is to be congratulated for performing operas that the New York audience would not otherwise hear. In this performance, however, her rhythms were not always crisp and, at times, there was poor synchronization between the orchestra and soloists. © Maria Nockin, 3 May 2004  May Houston Grand Opera's Turandot: (left to right) Nicholas Phan as Pong, Vladimir Galouzine as Calaf, and Arturo Chacón-Cruz as Pang Photo: Brett Coomer After hearing the rave reviews garnered by Anja Harteros at the Metropolitan Opera earlier this season, Southern California opera goers flocked to San Diego Opera on May 11 to hear her Violetta. Although it was her first appearance in La traviata, she gave a well thought out interpretation of the role and Verdi's treacherous first act held no terrors for her as she tossed off the 'Sempre libera' with cleanly-executed coloratura. She definitely has the all the qualifications for this role since both her singing and acting were superb throughout the entire evening. Ian Campbell directed the tragedy in a straightforward manner and kept to the original time frame. His main focus was on having the characters portray of their roles in a believable manner and the result was a performance that made dramatic sense. The traditional production had sturdy sets by John Conklin and the costumes by David Walker were appropriate for the time period. San Diego Opera's La traviata: James Westman as Germont with Anja Harteros as Violetta in the first part of Act II Photo: Ken Howard Richard Troxell was a handsome, youthful Alfredo whose light tenor voice served him well, even if it was not the robust instrument some would have preferred. He was a caring and ardent lover and he sang his second act aria, 'De' miei bollenti spiriti', and its cabaletta, 'O mio rimorso', with exquisite phrasing, fine diction and beauty of tone. Baritone, James Westman, sang with dark tonal colors and there was wonderful chemistry on stage when he sang with Harteros. Their emotional intensity made their Act II scene spellbinding. Joseph Hu cut a fine figure as Gastone, the party going socialite. Kelly Gebhardt was an attractive Flora with a well schooled voice and Nicolai Janitzky was a properly contentious Baron. Ilse Apéstegui gave a moving interpretation of Annina, the servant who truly cares for Violetta, and Ethan Herschfeld was a credible Dr. Grenvil. La traviata: the beginning of the second part of Act II with (seated) James Scott Sikon as D'Obigny, Nicolai Janitzky as Douphol and Kelly Gebhardt as Flora Photo: Ken Howard The chorus, directed by Timothy Todd Simmons, sang with gusto and moved well as individual party goers. Choreographer, Maxine Mahon's dances added to the gaiety of the Act III party. All of the artists profited from the wise musical direction of veteran conductor, Edoardo Müller, who encouraged them to sing with the essence of Verdian style. Under his direction the orchestra played with great distinction and in the score's more tragic moments achieved a plaintive tone that touched the emotions of every listener. La traviata: Richard Troxell as Alfredo at the end of Act II Photo: Ken Howard The production of Le nozze di Figaro that opened on May 22 at Los Angeles Opera differed considerably from what was originally planned, but it was a hit, nevertheless. General Director, Plácido Domingo, had wanted Achim Freyer to direct and Kent Nagano to conduct but neither man was available at the right time. The idea of the production was eventually conceived by Jürgen Flimm but the actual direction was done by Ian Judge who updated the piece to the 1950s, thus glossing over the many social and political implications of Beaumarchais' 18th-century libretto. Tim Goodchild's brightly colored sets contained some allusions to an earlier century. They formed an excellent background for the first three acts but lost some of their power in Act IV where the lighting was very low. Dierdre Clancy's flattering costumes were well constructed out of rich looking fabrics. Los Angeles Opera's Le nozze di Figaro: (left to right) David Pittsinger as Almaviva, Erwin Schrott as Figaro, Darina Takova as the Countess, and Isabel Bayrakdarian as Susanna Photo: Robert Millard Conductor, Stefan Anton Reck, led the orchestra in a sparkling rendition of this most exacting work. The ensembles with their tricky counterpoint were particularly well done. The young Uruguayan sensation, Erwin Schrott who excelled as Don Giovanni last season, sang Figaro. He has matinée idol good looks and an excellent stage presence. This was his first Figaro, but no one would have known that from this portrayal. His singing, especially in the embellished version of 'Se vuol ballare', was delivered with beautiful phrasing that showed stylistic command. Le nozze di Figaro: (left to right) Sandra Piques Eddy as Cherubino, Darina Takova as Countess Almaviva, and Isabel Bayrakdarian as Susanna Photo: Robert Millard Isabel Bayrakdarian, a star in the making, was an energetic, spirited Susanna who sang with beauty of tone and expert Mozartean style. She was a perfect match for Schrott and there seemed to be sparks between them. Dark-toned soprano, Darina Takova, was a playful Countess with movie star good looks, an ardent approach to her role and well appointed vocal artistry. Sandra Piques-Eddy was a boyish Cherubino with plenty of energy and a faultless legato. David Pittsinger was rather mild mannered as the fascist Count Almaviva, but he sang well and held his own in the ensembles. Most of the smaller roles were played for their comic value. Anna Steiger and Michael Gallup as Marcellina and Dr. Bartolo were laughably self-important, Greg Fedderly was an amusingly meek Basilio and Gregorio Gonzalez was a stupefied gardener. The role of Barbarina, however, was viewed more seriously and Jessica Rivera sang her aria with limpid silvery tones. Houston Grand Opera's Turandot: Act I Photo: Brett Coomer Every year Houston Grand Opera selects one production to be telecast live on a 24 x 30 foot screen set up on the plaza in front of the theater. It's an excellent way of allowing non-opera goers to sample the company's products. On May 14 there were some 3500 people in attendance outside the theater and a full house inside for a stellar performance of Puccini's Turandot. The original James Robinson production was directed in Houston by Peter Rothstein who made good use of a young cast with well-honed stage skills. Anna Oliver's costuming was particularly flattering to the men. Anita Stewart's sets consisted mainly of scaffolding and bare platforms, but the inventive lighting by Nigel Levings and the projections by John Boesch helped to flesh out the stage picture. To represent a large Beijing population, the opera increased the size of its regular chorus and made use of its 20 member children's chorus, all of whom performed with great musicality under the leadership of Richard Bado and Kathleen Reeves. Turandot: Norman Reinhardt as Emperor Altoum and Jennifer Wilson as Turandot Photo: Brett Coomer Although Adrienne Dugger was originally announced for the title role, Jennifer Wilson took it over before the premiere and, despite a lack of stage experience, she sang and acted with confidence. Her voice has a fine tapestry of dramatic colors in it and her top notes are brilliant. Singing the role of Calaf was Vladimir Galouzine, a Russian tenor with an exciting, dark-timbred voice whose high notes rang out brilliantly in a very well received 'Nessun dorma'. Ana Maria Martinez, a young singer whose artistry grows with every performance, was a moving and passionate Liu who floated some gorgeous pianissimi. Ping, Pang and Pong were interpreted by Chen-ye Yuan, Arturo Chacón, and Nicholas Phan who sang with resounding tones and enunciated clearly. Oren Gradus, a young singer with a stentorian voice, gave an outstanding portrayal of Timur. This was a thrilling presentation and a great deal of its excitement was generated by conductor, Patrick Summers, who elicited lustrous, translucent playing from the Houston Grand Opera Orchestra. Turandot: Ana Maria Martinez as Liù and Oren Gradus as Timur Photo: Brett Coomer The Los Angeles Opera premiered its final revival of the season, Il trovatore, on May 27. Stephen Lawless's modern, semi-abstract production, with sets by Benoît Dugardyn and costumes by Martin Pakledinaz, did little to make the libretto more easily understood by a modern audience, but it did create memorable stage pictures. It should be remembered that the original play by Antonio Garcia Gutierrez was a hit in its time. Problems with the opera libretto are the result of cultural differences and the musical necessity to reduce the material by two-thirds, rather than a lack of dramatic coherence in the original. Dolora Zajick made her long awaited Los Angeles debut as Azucena and left no one disappointed. She flooded the auditorium with waves of opulent sound and showed that she has an effective arsenal of dramatic expression. Sondra Radvanovsky, the exquisite Elizabetta of the San Diego Opera Don Carlo, was an impressive Leonora who made light of the role's well known difficulties. Both of her arias, 'Tacea la notte' and 'D'amor sull'ali rosee', were highlights of the evening. Il trovatore at the Los Angeles Opera: Sondra Radvanovsky as Leonora, Franco Farina as Manrico, and Roberto Frontali as di Luna Photo: Robert Millard The title role of Manrico was sung by Franco Farina whose handsome, robust singing of this melodic score easily made up for any missing dramatic values. Roberto Frontali was a formidable Di Luna with a distinctively warm voice and James Cresswell was a powerful, authoritative Ferrando. Margaret Thompson was a spirited Inez, Robert MacNeil an excellent Ruiz and Jinyoung Yang a creditable old gypsy. William Vendice's chorus sang with admirable precision and well balanced sound. Lawrence Foster is described as a Verdi specialist and he never let the tension lag in this rendition of the composer's most melodic score. Il trovatore: Sondra Radvanovsky as Leonora Photo: Robert Millard On May 7 Orlando Opera presented Federico Morena Torroba's once immensely popular zarzuela, Luisa Fernanda. The composer, who lived from 1891 to 1982, is now best known for his guitar music, but this stage work still has the ability to charm an audience with its beautiful melodies and infectious rhythms. Argentine born director, Daniel Helfgot, staged the piece in a traditional manner that was appropriate for its unsophisticated story. The sets evoked a small town 19th-century atmosphere and the colorful costumes were well fitted, making this evening's entertainment a trip to a charming part of the world in a simpler era. The charismatic mezzo-soprano, Kirstin Chávez, commanded the stage as Luisa. She sang with silken, sultry tones and spoke her lines with precise diction. Javier, the young man with whom Luisa falls in love, was sung with romantic fervor by golden voiced tenor, Scott Piper who, like Chavez, is a young singer to watch. Piper moves well and has full-sized ringing top notes. The baritone role of Vidal, the rich land owner who loves Luisa, is difficult and complex, but Hector Vásquez brought the character to life, both with his acting and with the colors in his voice. His elegant rendition of the third act romanza, 'Luche la fe por el triunfo', showed the completeness of his characterization. (When the Washington Opera presents this zarzuela next season, Placido Domingo will be singing this role, rather than that of Javier.) The lesser roles were also well performed. Ana Rodriguez was an aristocratic Carolina, Rose Sullivan an earthy Mariana and Frances Garcia an energetic Rosita. Jason Budd, who sang the part of the elderly Floro, also proved his worth as a character actor. It was an interesting foray into a different form of operetta and it worked out well for Orlando Opera, possibly because of the large Spanish speaking population in Florida. © Maria Nockin, 3 June 2004  June Il matrimonio segreto at the Opera Theatre of St Louis: (left to right) Phyllis Pancella as Fidalma, Christine Brandes as Elisetta, and Sari Gruber as Carolina Photo: Cory Weaver On June 6, Opera Theatre of St Louis presented Domenico Cimarosa's 1792 comedy, Il matrimonio segreto, in an English translation - which is usual for that company. For this production, however, there was also considerable adaptation. Stage director Colin Graham, who is the company's artistic director, updated the story to circa 1930 and changed the libretto so that the words fit that time frame. Much of the musical repetition was eliminated as well, so that the opera's duration was only about one and a half hours. Il matrimonio segreto: Sari Gruber as Carolina and Carleton Chambers as Lord Robinson Photo: Cory Weaver The visually exciting set by Sanghee Moon was replete with a gorgeous chandelier and a garden behind French doors, while Jane Greenwood's form-fitting costumes helped to establish the mood of the time. The enchanting young bride, Carolina, was sung with silvery tones by Sari Gruber and her voice projected especially well above the staff. As Paolino, her secret groom, Jeffrey Picon started off slowly but eventually warmed up to convince the audience that he is an interesting young tenor with a rich voice and fine acting ability. He was an ardent lover who could be funny at the right time. Il matrimonio segreto: Sari Gruber as Carolina and Jeffrey Picón as Paolino Photo: Cory Weaver The Elisetta, Christine Brandes, looked lovely in her slinky gown and sang with smooth creamy tones. As the older aunt who longs for a young lover, Phyllis Pancella sang with a wide range of color and expression. She had great comic timing, too. Baritone, Carleton Chambers, was a sophisticated Lord Robinson and bass, Evan Bennet, substituting for the indisposed David Evitts, sang Don Geronimo with excellent 18th-century style. Il matrimonio segreto: (left to right) Christine Brandes as Elisetta, Phyllis Pancella as Fidalma, and Sari Gruber as Carolina Photo: Ken Howard Jane Glover elicited translucent playing from the orchestra and drew rhythmical exactitude from all her forces during the ensembles. Because the Opera Theatre of St Louis performs in English, it is one of the few US companies that does not provide super titles which allow the audience to read the words as they are sung. As a result artists performing there need to have excellent diction. Unfortunately, the text of Il matrimonio segreto was not always understandable and titles would have added to the audience's enjoyment of the evening. Il matrimonio segreto: (left to right) Evan Bennett as Don Geronimo, Carleton Chambers as Lord Robinson, Jeffrey Picón as Paolino, Sari Gruber as Carolina, Phyllis Pancella as Fidalma, and Christine Brandes as Elisetta Photo: Ken Howard On June 16, the same company presented John Adams' 1987 opera, Nixon in China, in a production also to be seen at Houston Grand Opera. It is hoped that again putting the work before the public will help it find a place in the repertoire. As most symphony concert goers know, some of the instrumental music from this work, in particular 'The Chairman Dances' has already found a secure niche as an orchestral piece. James Robinson's dramatically coherent staging was enhanced by Allen Moyer's designs which included a number of old television sets that placed the time period firmly in the 1970's. The Nixons' arrival in China was shown on their screens. This opera portrays the US president and his wife Pat almost lovingly, while presenting Mao Tse-tung and his wife Chiang Ch'ing in a much less favorable light. It might be interesting to see Nixon in China given in the same season with Bright Sheng's Madame Mao so that one could compare the differing impressions of the Chinese leader. Robert Orth was a formidable Nixon who projected his voice solidly throughout its range, commanding the scenes in which he appeared. Maria Kanyova sang with elegant tones and her first lady was a warm, likeable character who looked stunning in James Schuette's costumes. Mark Duffin and Tracy Dahl established recognizable characterizations of Mao and Chiang Ch'ing and sang their difficult music with seemingly little effort although much of it lay at the extremes of their ranges. Baritone Chen-ye Yuan was an authoritative Chou En-lai and Jan Opalach was a sleazy Henry Kissinger. Secretaries Allison Tupay, Christy Pritchard and Elizabeth DeShong all sang with lustrous tones and created characters that showed their abilities as fine young artists. Conductor Marin Alsop kept all her forces synchronized and led the orchestra in a well coordinated reading of the piece. Cincinnati Opera's production of La fille du regiment: Lawrence Brownlee (left, in civilian dress) as Tonio, Celena Shafer (center) as Marie, and Timothy Nolen (right) as Sulpice Photo: Philip Groshong On June 17 the Cincinnati Opera, now in its 84th season, presented a wonderfully amusing version of Gaetano Donizetti's La fille du regiment with an extremely able cast of young singers. Stage director Dorothy Danner took full advantage of the young artists' ability to cavort around the stage while singing. The production, originally designed by Boyd Ostroff for Philadelphia, was a good fit for the Music Hall stage and formed an excellent background for the comic goings on. Thomas C Hase's lighting was effective and it provided the right ambience for each scene. La fille du regiment: Celena Shafer as Marie and Lawrence Brownlee as Tonio Photo: Philip Groshong The success of this opera depends on the vocal capabilities of the leading soprano and tenor and both were easily up to the tasks set before them. Celena Shafer is a coloratura soprano of the first rank with excellent flexibility and an extensive range. She had no trouble rendering Marie's music with the utmost expression and excellent French diction even though she had only sung the role in English before. She is also a talented comedienne and a fine actress who moves gracefully. Lawrence Brownlee was singing his first Tonio, but he has the voice for it and the role's nine high C's gave him no trouble at all. He also proved that he has the right instincts to handle the work's comic situations. La fille du regiment: (left to right) Timothy Nolen as Sulpice, Celena Shafer as Marie, and Lawrence Brownlee as Tonio Photo: Philip Groshong Dale Hodges was an intriguingly outrageous Dutchess of Crakentorp while veteran baritone Timothy Nolen was a bombastic but golden toned Sergeant Sulpice. Myrna Paris who sang the Marquise and Mark Panuccio who sang Hortensius are excellent actors with strong voices and they played their parts with gusto. Adam Schultz was a spirited corporal, Ryan Mills a splendid Duke of Crakentorp and Robert Hutson a ludicrous notary. Conductor Christopher Larkin led a brisk reading of the piece that provided a good base for the rollicking comedy on stage. In some ways this is an old fashioned comic opera, but Danner's production made it very enjoyable for a 21st-century audience. San Francisco Opera's production of Janacek's The Cunning Little Vixen: Thomas Allen as the Forester Photo: Ken Friedman Although Pamela Rosenberg has announced her departure from San Francisco Opera, she will be remembered for presenting unique productions of seldom heard operas. One of these is Leos Janacek's 1924 work, The Cunning Little Vixen, which was performed at San Francisco Opera on June 11th. Conductor Alexander Polianichko defined Janaceks rhythms well and drew a sheer, seamless performance from the orchestra. Dawn Upshaw was in her element as the Vixen, Bystrouska (Sharp Ears). She sang with radiantly clear tones and she was the perfect embodiment of the playful and sexy female fox. The part of her mate which can be sung by a tenor was instead taken by mezzo-soprano Dagmar Peckova who sang with emotional intensity and acted in an appropriately masculine manner. The Cunning Little Vixen: the Wedding Scene Photo: Ken Friedman The Forester was sung by Thomas Allen and it was he who held the various parts of the opera together with his dark timbered, robust voice. Allen was the lone figure who related to everything in the story. Catherine Cook was a comically downtrodden but lustrous voiced dachshund, Anthony Laciura a sonorous but mysterious school master and bass Gregory Stapp a resonant but embittered parson, while Bozan Knezevic was a smoky toned, evil minded poacher. Judith Christin, who always creates an interesting character, was a warm voiced, credible forester's wife. Instead of a literal approach, director Daniel Slater and designer Robert Innes Hopkins clothed their animal and insect characters with costumes that included car parts and kitchen implements. The scenery, originally constructed for the Lake Stage at Bregenz, had interlocking arches and round structures with openings through which the forest creatures could enter and exit. Aletta Collins's choreography was artistic and graceful as danced by Gabrielle Malone and Andrew Robinson. It is unfortunate that the auditorium was not filled on opening night. It would seem that even in sophisticated San Francisco most opera goers prefer more familiar repertory. The Cunning Little Vixen: Dawn Upshaw in the title role with Dagmar Peckova as the Fox Photo: Larry Merkle On June 9, three days before what would have been the 75th birthday of Anne Frank, Cleveland Opera put together an interesting evening of homage to the victims of the Holocaust. Because Gregori Frid's opera, The Diary of Anne Frank, is only one hour long David Bamberger, former general director of the company, paired it with a second work he constructed from a group of 15 songs by Lori Laitman. Some of the lyrics for these songs were written by children imprisoned at the Terezin Concentration Camp. Come to Me in Dreams, the work that grew from the songs, speaks volumes about the emotional impact of the Holocaust with a text that involves three singers and an actress. It became a very fitting companion piece to the Frid opera, especially since Laitman wrote a final song to form a finale for the opera. Baritone, Sanford Sylvan, sang the part of the survivor with stentorian tones and distinctive colorations that illuminated the more dramatic passages of his songs. Fenlon Lamb sang the wife with captivating honeyed tones and Megan Tillman was a plaintive child. Among the highlights of this piece were Paul Cohen's beautifully played saxophone solos. The composer of Anne Frank, Gregori Frid, was born in Russia in 1915 and wrote the one character opera in the 1970's. It was performed in Russia but ran into censorship, so the composer had it smuggled to the US where it has been given many times since. Dunja Pechstein gave an impressive performance in this unique role. Wearing a dark blue pleated skirt and flat shoes with white socks, she seemed the perfect wartime teenager. She sang with a strong, flexible voice and she conveyed the complex emotions of the young girl, most especially her hope for a future. Surprisingly, this evening left the audience with the feeling that Anne and the others had not lived in vain and the work ended with the young girl walking off into the light surrounding a very beautiful Star of David. The well-thought-out direction of Nancy Rhodes and the exquisite lighting design of Izzy Einsidler kept the works from becoming overly melancholy. Conductor Sybille Werner accompanied both works with artful phrasing and luminous renditions of the various pieces of music. © Maria Nockin, 2 July 2004  Maria Nockin grew up in New York. Born of a German Jewish/British/Bahamian family, She enjoyed a thorough-going musical upbringing, inspired by family friends like the violinist Mischa Elman, pianist Alexander Siloti, and soprano Grete Stückgold. Eventually concentrating on vocal studies, she became a soloist in New York churches, worked for the Metropolitan Opera Guild and later became a public high school teacher. Moving to Arizona in 1993, she started a new career as a music journalist contributing reviews and articles to Opera Japonica and other print and web publications. At her ranchito in the desert near Casa Grande, she paints watercolors and keeps two cats called Figaro and Siegfried. See the current Letter from America and also Letters from America 2000, 2001, 2002, January to June 2003, and July to December 2003