Maria Nockin's Letters from America
January to June, 2005

January

Los Angeles Opera's production of Aida: Susan Gladstone and other dancers Photo: Robert Millard

Like New York and California, Texas is a good state for opera. On January 10, Austin Lyric Opera presented Richard Strauss's one act blockbuster, Elektra, in a traditional production originally made for Canadian Opera. Wolfram Skalicki's set was substantial and formed an effective background for the violent emotional climate of the piece. Amrei Skalicki's flowing Grecian costumes and David Nancarrow's lighting contributed to the intensity of the visual spectacle.

Austin Lyric Opera's production of Elektra: Susan Marie Pierson in the title role Photo: Mark Matson

The title role was sung by the charismatic Susan Marie Pierson who has performed it all over Europe. She inhabited the character totally, singing with a brilliant top that cut through the orchestral fabric, dramatic middle tones and warm, carmine-colored low notes. Her diction was excellent and she energized the text with conviction. She played with Klytemnestra like a cat toys with a fascinating insect, and her manner softened only in the emotionally charged recognition scene.

Elektra: (from left) Brenda Harris as Chrysothemis, Tom Fox as Orestes, and Susan Marie Pierson as Elektra Photo: Mark Matson

Brenda Harris sang Chrysothemis with a rich, clear sound and she conveyed a sense of normality that contrasted with the demeanor of her more obsessive sister. As Klytemnästra, Emily Golden's voice projected well even though it was a little bit light for the part and her character came across as a recognizable human being rather than a caricature.

Susan Marie Pierson as Elektra Photo: Mark Matson

Tom Fox's stentorian baritone voice cut through the 70-piece orchestra with ease and he portrayed a formidable Orest who easily vanquished the snake-like Aegisth of Joseph Evans. Of the maids who appear at the beginning of the opera, soprano Desirée Wattelet and mezzo Cindy Sadler were the most outstanding, Wattelet because of her soaring, lustrous sound and Sadler because of her honeyed low notes. Conductor Richard Buckley brought out dark orchestral colors and the many inner sonorities of this lush score while always being mindful of the needs of the singers. The Austin Lyric Opera Orchestra played with admirable precision.

Elektra: (from left) Susan Marie Pierson in the title role, Susan Lubin as the confidante, Emily Golden as Klytemnästra, and Paula-Rae Walker as the trainbearer Photo: Mark Matson

On January 22, Los Angeles Opera revived the 1987 Pier-Luigi Pizzi production of Aida seen there a few years ago. We often think of this opera as merely an overblown spectacle, but it may be that if we listen more carefully to the music we realize that it is the main attraction. That was the case on this evening.

Stage Director Vera Lucia Calabria did not have great actors to work with but, nevertheless, she got the principals to emphasize the opera's passionate love story. Alan Burrett's lighting designs helped to unify the many scenes of the piece. The conductor was 34-year-old Israeli, Dan Ettinger, and he kept all his forces well synchronized. He never overwhelmed the singers with orchestral sound and he managed to shape his interpretation into a recognizable whole.

Los Angeles Opera's production of Aida: Michéle Crider as Aida and Lado Ataneli as Amonasro Photo: Robert Millard

The Aida, Michéle Crider, was in an advanced state of pregnancy but that did not seem to affect her singing. Her voice was clear and she sang with great beauty of tone, especially in the difficult Act III aria, 'O patria mia,' which seemed to hold no terrors for her. Tenor Franco Farina did all of his acting with his voice and he too sang splendidly, although without much use of dynamics. Perhaps the best interpretation was put forth by Lado Ataneli as Amonasro who proved to be an energetic actor who sang his role with virile power and exquisite taste.

Michéle Crider as Aida (left) and Irina Mishura as Amneris Photo: Robert Millard

As Amneris, Irina Mishura had some difficulty with high notes, but she belted out a creditable Judgement Scene that was only slightly marred by some overblown acting. Arutjun Kotchinian was a powerful Ramfis, Reinhard Hagen a commendable King and young soprano, Joohee Choi, was a silvery-voiced priestess. Although it may not have been the Aida of one's dreams, it was a well sung rendition of Verdi's score and another success for Los Angeles Opera.

Aida: Act II Scene II Photo: Robert Millard

Because Phoenix's Symphony Hall is being renovated, Arizona Opera presented Così fan tutte at the tiny art deco Orpheum Theater. This beautifully appointed setting was perfect for Mozart's intimate opera. Unfortunately, the production by Ron Daniels did not offer much visual satisfaction. Riccardo Hernandez's set suggested a boardwalk and one got the feeling of the sea immediately beyond it, but his indoor scenes had minimal furnishings.

The mostly white costumes by Carrie Kunz, Eric Lijka and Liz Weibler did not define the time of the action any more exactly than the scenery did, but Chester Dubaj's lighting designs helped to establish a viable background for each individual scene. Most importantly, this performance was about the music. Most of the singing was glorious, no matter which cast you heard. Joel Revzen maintained crisp tempi and played the recitatives on the harpsichord with consummate skill. All of the ensembles were models of precision and the orchestral accompaniment was perfectly balanced with the singing.

Così fan tutte at the Arizona Opera: Mark Schowalter as Ferrando and Mariateresa Magisano as Despina Photo: Tim Fuller

As Fiordiligi on January 9, Barbara Shirvis exhibited a huge vocal range and excelled in its lower reaches. Jane Jennings of the January 22 cast, who has a lighter, more silvery voice, had trouble gauging the upward jumps in the score and occasionally sang under pitch in Act I. She showed much better vocal accuracy in the Act II, and her singing was especially laudable in the aria, 'Per pietà, ben mio.'

Chad Shelton of the first cast had a good concept of his role and sang it ardently while second cast tenor, Mark Schowalter, sang passionately and gave a dramatically coherent performance. Mezzo-soprano Mary Phillips had a silken sound and was a lovable, if feather brained, Dorabella. Her colleague, Maria Zifchak, who is an excellent musician, gave an energetic performance with infectious verve, flooding the hall with gorgeous tones.

Così fan tutte: (from left) Maria Zifchak as Dorabella, Mariateresa Magisano as Despina, and Jane Jennings as Fiordiligi Photo: Tim Fuller

As Guglielmo, Philip Cutlip demonstrated a well thought out characterization and sang with rich sonorities, while John Hancock outshone the rest of the second cast with his excellent diction and vocal dynamics. Both Despinas, Arianna Zuckerman and Mariateresa Magisano, are excellent comediennes and both had accurate, razor sharp coloratura. Steven Condy sang Don Alfonso at all the performances which may have created some vocal problems for him. His voice had very little resonance later in the run but his portrayal was always fun to watch.

Così fan tutte: Jane Jennings as Fiordiligi and Mark Schowalter as Ferrando Photo: Tim Fuller

On January 21, Anchorage Opera of Alaska, a land better known for dog sled races than for opera, presented Richard Wagner's Der fliegende Holländer. It was the first time a Wagner opera had been presented in America's far north and the house was almost sold out, even for performances during the week. The production by Steven Wadsworth from Seattle Opera dated back to 1989, but Tom Lynch's designs were still impressive and fresh looking. Stage director Matthew Lata gave his players sensible actions and the tale was easily understood by neophyte and experienced opera-goers alike.

Bass baritone Kristopher Irmiter was a charismatic Dutchman who sailed through his role with a robust voice. Oksana Krovytska is a singer with a big sound who is beginning to delve into dramatic soprano territory. She had the easy high notes for Senta and her voice had no trouble cutting through the large orchestra. Next season she is expected to reprise the role at Arizona Opera.

New York University professor Michael Douglas Jones sang Daland with a solidly grounded bass voice. In this conception of the piece, he was a somewhat comical character whose greed far exceeded his affection for his daughter, and he pulled it off brilliantly. Jeffrey Springer underplayed the part of Erik but he sang with buttery tones. Paul Mow made the most of the Steersman's few lines and Barbara MacAllister created a recognizable but rather unpleasant character as Mary.

The members of the Anchorage Opera Chorus seemed to be enjoying themselves immensely with Wagner's music and they sang it most enthusiastically. Conductor Randall Craig Fleischer kept his many forces well coordinated and the Anchorage Symphony played accurately, although there were a few passages in which it would have been nice to hear more brass. Anchorage Opera is a small but valiant institution that works hard at educating it's public about opera. Its outreach company has been known to tour all the way to the shores of the Arctic Ocean.

Another Texas company that has been giving excellent performances for the last few years is the Dallas Opera which presented Verdi's Luisa Miller on January 7. This spare San Francisco production with sets by Michael Yeargan was conceived by Francesca Zambello. It was directed in Dallas by Christian Räth who presented the story with effective blocking. The costumes by Dunya Ramicova established the time as mid 19th century, but were not always flattering to the singers.

Music Director Graeme Jenkins's conducting never let the tension of the piece elude him and although his tempi were a bit fast in some of the choral parts, he drew smooth playing from the orchestra and maintained good balances between the pit and the stage.

As Luisa, Ruth Ann Swenson's singing was lustrous and expressive. She still has that quick silver vocal agility that brought her to the top of her profession, and she combined it with skilful acting. Cuban born tenor Raúl Melo stepped in at the last minute to sing Rodolfo and gave a romantic portrayal of the doomed lover despite occasional faulty intonation. Raymond Aceto sang a masterful Count Walter with burnished bass tones.

Mzia Nioradze, who sang Federica, has a big voice with a distinctive sound which she used to good advantage. She also proved to be a skillful actress. Baritone Gordon Hawkins was a powerful Miller who sang with covered tones and Jeffrey Wells was a thoroughly evil, gruff Wurm. Christine Abraham was a sumptuous sounding Laura but she might have been given more stage business. Luisa Miller is an unusual opera and it's presentation in Dallas was indeed a gala affair.

© Maria Nockin, 31 January 2005 

February

San Diego Opera's Die Fledermaus: Siphiwe McKenzie as Adele and her many suitors at the costume ball Photo: Ken Howard

Los Angeles Opera has a genuine hit on its hands in its new production of Charles Gounod's Roméo et Juliette. Director Ian Judge, an accomplished Shakespearian, updated the action from the renaissance to the mid 19th century. The costumes by Tim Goodchild featured long, slim frock coats for the men and enormous hoop skirts for the women. John Gunter's set consisted of wrought iron frames which enclosed staircases and platforms that could be arranged to accommodate various scenes.

Los Angeles Opera's Roméo et Juliette: Marc Barrard (center) as Mercutio and Rolando Villazón (left) as Roméo Photo: Robert Millard

The raison d'être for this production was the Roméo of Rolando Villazón. On February 3, the tenor's golden sound, his ringing high notes and his appealing stage presence made him a perfect fit for this elegant romantic role. Villazón's voice has a lyric quality and a degree of power as well. His rendition of 'Lève-toi soleil' flooded the auditorium with gorgeous sound. An energetic performer, he climbed up to Juliette's balcony with alacrity and at no time did he merely stand and sing.

Anna Netrebko as Juliette Photo: Robert Millard

Anna Netrebko's Juliette was well matched to her Roméo. She is slim, not overly tall and has lovely facial features. Her voice is strong and clear and, although she lacks some of the technical abilities of the true coloratura, she has the power to encompass the more dramatic aspects of this role. She sang the Act I valse-ariette, 'Je veux vivre' with conviction and excelled in the much less often performed, dramatic Act IV aria, 'Amour, ranime mon courage.'

Rolando Villazón (left) as Roméo, Reinhard Hagen as Friar Laurence, and Anna Netrebko as Juliette Photo: Robert Millard

Reinhard Hagen was a caring Frère Laurent with sumptuous low notes. His appearance in this role was true luxury casting. The Stéphano, Anna Maria Panzarella, made the most of her aria 'Que fais-tu blanche tourtorelle?' and at one point sang a perfect trill. French baritone, Marc Barrard, was a stylish Mercutio with masterful diction and Florian Láconi was a dramatically alert if dry sounding Tybalt.

Anna Netrebko as Juliette and Rolando Villazón as Roméo Photo: Robert Millard

Los Angeles regular, Suzanna Guzmán, portrayed a committed Gertrude and it was a shame she did not have more to sing. Simone Alberghini proved to be a proficient Capulet and Michael Gallup a dramatically skillful Duke of Verona. Frédéric Chaslin conducted with an elegant line and supported his singers while eliciting accurate and lucid playing from his musicians. It is only in recent years that the Los Angeles Opera has risen to the highest level among opera companies. With this production there is no doubt that it has reached that point.

Roméo et Juliette: Michael Gallup as the Duke of Verona banishes Rolando Villazón as Roméo Photo: Robert Millard

On the following night, February 4, San Diego Opera presented a gala presentation of Johann Strauss's Die Fledermaus in celebration of the company's 40th anniversary. Sung in Ruth and Thomas Martin's English translation, the words were understandable for the most part and any verbiage lost to the ear could be read on the efficiently projected supertitles.

Making her debut in this production was Canadian soprano, Siphiwe McKenzie, a member of the Nürnberg Opera Ensemble. Her silvery coloratura is accurate, she has a sizeable voice backed by good technique, and she is a skillful actress with appealing stage presence. Also in great voice was tenor John Osborn who sang Alfred. His smooth legato was effortless and he made his listeners want to hear him in each of the roles from which he sang a snippet. Swiss soprano, Noemi Nadelmann, was an attractive Rosalinde whose voice was a bit light for the part, but her interpretation was well conceived and added measurably to the success of the show.

San Diego Opera's Die Fledermaus: Brothers in real life, Paul Armin Edelmann (left) as Dr. Falke and Peter Edelmann as Eisenstein Photo: Ken Howard

Peter Edelmann gave a sterling performance as an Eisenstein who flirted with the audience as well as the beauties on stage. His brother, Peter Armin Edelmann, was a most interesting, firm voiced Dr. Falke. Veteran baritone John Del Carlo prowled across the stage in his portrayal of the party-going prison warden while singing with his usual large, opulent sound. Counter-tenor Brian Asawa took on the part of Prince Orlovsky which was written for a mezzo-soprano. His aria, 'Ich lade gern mir Gäste ein' (sung as 'From time to time I entertain') was persuasive and he gave a commendable portrayal of the spoiled nobleman. Conductor Valéry Ryvkin led the San Diego Symphony in an idiomatic rendition of this charming operetta. Although the words were heard in translation, the music was performed in authentic Viennese style.

Die Fledermaus: (from left) Peter Edelmann as Eisenstein, Noëmi Nadelmann as Rosalinde, and Siphiwe McKenzie as Adele Photo: Ken Howard

The production by Lotfi Mansouri was originally performed in San Francisco and that company's general manager emeritus obviously knows how to do comedy. The beautiful and intricately realistic set was designed by Wolfram Skalicki and the exquisitely detailed costumes were by Thierry Bosquet. This was a gala performance, and during the second act party there was a full scale ballet as well as guest singers, including tenor Richard Leech who sang Granada to vociferous applause. It not only commemorated this company's anniversary but showed that it can be expected to present top flight opera for many years to come.

Die Fledermaus: (from left) Jack Montgomery as Frosch, Peter Edelmann as Eisenstein, and John Del Carlo as Frank Photo: Ken Howard

On February 19, San Diego Opera revived its well loved 1999 production of Wolfgang Amadeus Mozart's Così fan tutte. Director Leon Major changed the time of the story from the 18th century story to shortly before World War I and placed the action at San Diego's own Hotel Del Coronado, which is still one of the city's major tourist attractions. Although some updated productions limp badly, this one works well with no changes in the story. Allen Moyers' set showed the hotel with its large veranda, the famous round roofed beach house and a tiny cabana which seemed to absorb sound. David O Roberts's costumes were designed to be similar to the clothing worn at the hotel during the summer of 1912. They flattered the singers and set the time perfectly.

Così fan tutte: (at left) Phyllis Pancella as Drabella and Jennifer Casey Cabot as Fiordiligi watch as Sheryl Woods as Despina uses her magnetism to revive the men Photo: Ken Howard

The star performer of the evening was Swiss tenor Michael Schade. He sang Ferrando with a golden sound and a very wide range of dynamics. An enthusiastic actor, he was a humorous delight in his Albanian disguise as well as a romantic lover who sang his music with beautiful phrasing. As Fiordiligi, Jennifer Casey Cabot was an immature fiancee who was easily tricked. She sang with great beauty of tone in the upper and middle registers but her low notes were not well projected. Phyllis Pancella, who played Dorabella, had the necessary range and sang with burnished tones throughout the evening. She was both a visual and a vocal delight and one might hope to hear her in other roles with this company. Russell Braun was a handsome Guglielmo who sang with a splendid, ringing sound.

Così fan tutte: Dean Peterson as Don Alfonso and Sheryl Woods as Despina Photo: Ken Howard

A provocative Despina, Sheryl Woods proved to be a born comic and she made the whole plot come together. Her voice is small but well focused and she sang her arias brilliantly. She was the key that made the comedy work whether she was serving breakfast, impersonating a doctor or solemnizing the phony marriage. Also a fine actor, Dean Peterson was a laudable Don Alfonso as he sang with affecting dark tonal colors.

Conductor Karen Keltner's well known love for Mozart's music was underscored by her magnetic reading of the score. She gave the singers every consideration, while keeping the many strands of the composer's intricate ensembles perfectly in place so that the counterpoint in the ensembles always came off perfectly. The recitatives were expertly played on the harpsichord by Dorothy Randall

Così fan tutte: (from left) Jennifer Casey Cabot as Fiordiligi, Sheryl Woods as Despina, and Phyllis Pancella as Dorabella Photo: Ken Howard

Opera Colorado is a spunky company that performed its first Handel opera, Giulio Caesare, on February 12 at the Buell Theatre in Denver. In order to interest opera goers in this unusual baroque work, the company brought in a major star, Metropolitan opera mezzo-soprano, Stephanie Blythe, who made excellent use of the opportunity to show the rocky mountain audience her vocal artistry and command of the stage. The power of her voice, its wide range and the variety of its colors were impressive and her singing was as delectably fresh as it was emotionally affecting.

Director James Robinson's production told the historical tale as if it were a 1930's movie in the style made famous by Cecil B. De Mille. The set by Christine Jones was a good imitation of that era's Hollywood realism. At one point, James Schuette's lavish, intricate costume made Cleopatra, played by Elizabeth Futral, resemble Jean Harlow. Since Futral looks like a movie star, she fitted this production to perfection. She seduced Caesar in old fashioned 'Mae West' style, too, but never let stage business detract from the opulence of her florid singing. An expressive vocalist with sumptuous tones, her rendition of 'Piangerò la sorte mia' showed that her voice is rich in every register.

Mezzo-soprano Patricia Risley was a vividly dramatic, feisty Sesto and counter-tenor Ryland Angel a mean and cunning Tolomeo. Nancy Maultsby's dark, soft grained mezzo voice made her a perfect Cornelia, while Randall Scotting was a handsome, full voiced Nireno and Luca Pisaroni was a stentorian Achilla.

Graeme Jenkins conducted with a brisk and light approach and his varied but appropriate tempi helped make this a satisfying performance. The musicians played accurately creating a translucent texture and, since the orchestra was augmented with a theorbo and other baroque instruments, its sound was properly Handelian.

On February 14 the Metropolitan Opera presented a revival of its 2001 Elijah Moshinsky production of Giuseppe Verdi's first truly successful work, Nabucco. This time it was directed by J. Knighten Smit who made the story easily understandable. Designer Adreane Neofitou clothed the leading singers in glamorous costumes that underscored their royal positions. John Napier's rotating set depicted the edifices of the Jews in large off-white blocks and those of the Babylonians in sharply contrasting black stone. Howard Harrison's lighting added depth and an air of mystery to the various stage pictures.

Nikolai Putilin was a persuasive Nabucco who sang with a dramatic sound but did not expend a great deal of energy on acting. After a somewhat slow start, Paata Purchuladze communicated effectively as Zaccaria. He was particularly moving in his Act II recitative and prayer despite a tendency toward covered tones.

Maria Guleghina was an impressive Abigaille who created an electric atmosphere whenever she was on stage. Although she has a rich, agile voice, her singing had some imperfections, but the overall effect was mesmerizing, especially when she unleashed her gleaming top notes. As Ismaele, Gwynn Hughes Jones combined fine singing with a keen dramatic portrayal of his role. Wendy White sang Fenena with creamy, well shaped tones in true bel canto style. Unlike Ghuleghina, she did not throw caution to the wind, but her phrasing was a stylistic triumph.

As usual in this production, the smaller roles were well cast. Julien Robbins was an assured, sonorous high priest, Claudia Waite a colorful Anna and Edoardo Valdes a formidable Abdallo. James Levine's reading of the score was intense and evoked emotion from the audience, particularly in the repeated playing of 'Va pensiero, sull' ali dorati' which was sung with idyllic beauty by the sometimes less than perfect Metropolitan Opera Chorus. Nabucco is an exciting opera and this performance showed it at its most intense.

© Maria Nockin, 28 February 2005 

March

Houston Grand Opera's production of Mark Adamo's Lysistrata: Emily Pulley as Lysia (top), enlists the aid of her fellow Athenian women (bottom, left to right) Myrna Paris as Kleonike, Laquita Mitchell as Myrrhine, Marjorie Owens as Xanthe, and Jennifer Root as Sappho Photo Brett Coomer

Houston Grand Opera is well known for fostering new works. On March 4 it presented Lysistrata, a risqué romantic comedy based on the play of the same name by Aristophanes. Both the pun-filled libretto and the music were written by Mark Adamo, composer of the well-received Little Women which has been produced by several companies around the country. The premise for Lysistrata is that the women of both Sparta and Athens are tired of war and have agreed to deny sex to their husbands and lovers until there is a cessation of hostilities. Adamo's music is not only tonal but often melodic, which makes it readily enjoyable by the average opera goer.

Lysistrata: Chad Shelton as Nico and Emily Pulley as Lysia Photo Brett Coomer

Stage director Michael Kahn kept the action at a lively pace, especially in Act I. Act II is much more static because of an abundance of arias but, nevertheless, there was enough movement to keep the audience interested without diverting anyone's attention away from the music. Derek McLaine'so scenery was on the bold side with an orange and blue color scheme, but Muriel Horton's cstumes provided softer shades to soothe the eyes.

Lysistrata: Laquita Mitchell as Myrrhine and Joshua Hopkins as her husband Kinesias Photo Brett Coomer

Emily Pulley was an assured and seductive Lysia who sang with a sultry sound, charming the men in the audience as well as her lover, Nico. He was portrayed with considerable interpretive expertise by Chad Shelton. Their voices blended with romantic fervor, especially in the score's more intimate moments. Myrna Paris was a sturdy, emotionally direct Kleonike who led the campaign for peace. As Leonidas, the general who also longs for an end to the war, Joshua Winograde sang with clear, distinctive low tones.

Lysistrata: Victoria Livengood as Lampito (front left) and Laquita Mitchell as Myrrhine (front right) read Lysia's proposal to the Spartan and Athenian women (back left to right), Susan Holsonbake, Fiona Murphy, Jennifer Root as Sappho, Marjorie Owens as Xanthe, and Myrna Paris as Kleonike Photo Brett Coomer

As the Amazon Lampito, mezzo-soprano Victoria Livingood sang with a robust, well projected sound. Houston Grand Opera Studio soprano Laquita Mitchell was a spectacular Myhrrine and her high notes soared easily above the variegated colors of the orchestration. Conductor Stefan Lano led the performance with a light touch. His ensembles crackled with quick tempi and his romantic scenes were emotionally fulfilling. This is an interesting new work and it should provide as much fun at its next stop, the New York City Opera, as it has in Texas.

Lysistrata: Emily Pulley as Lysia (center) is honored by the Athenian and Spartan women Photo Brett Coomer

On March 18, the Teatro Lirico d'Europa performed Georges Bizet's popular opera, Carmen, to a full house at the New Jersey Performing Arts Center in Newark. Stage Director Giorgio Lalov's production presented a traditional retelling of the story, with solid looking scenery and elaborate costumes by Valentine Topencharov. Three excellent dancers from Ballet Arabesk performed the now seldom seen dances that were once an integral part of this opera.

The title role was sung by a rising star in the operatic firmament, Kirstin Chávez. She has appeared at the New York City Opera and will make her debut at the Metropolitan next season. A charismatic, green eyed seductress, this Carmen was as irresistible to the audience as to her stage lovers. Her moderately-sized voice was even throughout its registers with luminous high notes and luscious, creamy chocolate low tones. Here the heroine was much more than a mere sex symbol. Beneath the suave veneer was a woman who knew full well that her actions could have fatal consequences.

Teatro Lirico d'Europa's production of Bizet's Carmen at Newark: Kirstin Chavez as Carmen and Jeffrey Springer as Don Jose Photo: Robin Grant

Jeffrey Springer was a strong Don José who sang with a smooth legato and ringing top tones. He portrayed an impulsive character, reacting to a stressful situation with violent. His 'Flower Song' was sung with a firm full sounding voice that evoked sympathy for his uncontrollable attraction to Carmen. Moldovan baritone, Vladimir Samsonov, sang his 'Toreador Song' with powerful, robust tones as he strutted across the stage like a champion bull fighter.

Carmen at Newark: Kirstin Chavez in the title role Photo: Robin Grant

Veselina Vasileva was a poignant Micaëla who imbued her lovely third act aria with a lustrous silvery sound that soared over the orchestral accompaniment. An accomplished actress, the soprano made every onlooker feel her fear on that wild night in the mountains. Another soprano with beautiful blooming top notes was Liubov Methodieva who sang Frasquita. Her companion, Mercédès, was interpreted in spirited style by Viara Zhelezova.

Morales and Zuniga were portrayed with dramatic coherence by Vladi Hristov and Jury Hadjeff while Giorgio Dineff and Hristo Sarafov gave masterful performances as Remendado and Dancaïro. Krassimir Topolov conducted the Sofia Symphony in a brisk but intense rendition of the beloved masterpiece and the audience reacted with tumultuous applause at the end of the evening.

Carmen at Newark: Kirstin Chavez in the title role and Jeffrey Springer as Don Jose Photo: Robin Grant

On March 5, the Minnesota Opera presented Gaetano Donizetti's rarely performed opera Maria Padilla at the Ordway Center in St Paul. Composed between Lucia di Lammermoor (1835) and Don Pasquale (1843), it was first performed at La Scala, Milan on December 26, 1841. The work is best known for the beauty of its duets, especially the spectacular 'A figlia incauta' of Act II which contains a double cabaletta for Maria and her sister Inez.

Brenda Harris, who had previously sung this bel canto part at the Buxton Festival in England, gave an authoritative rendition of the dramatic title role. Since Maria threatens suicide in some versions and frequently claims to see visions, the soprano characterized her as mentally unstable and emphasized her delusions in the first act aria. She gave a masterful portrayal of this difficult role with a strong, flexible voice.

Minnesota Opera's production of Donizetti's Maria Padilla: Brenda Harris (front) in the title role, and Karin Wolverton (back) as Ines Photo: Michal Daniel

Her father, Don Ruiz, was played in authentic bel canto style by rich voiced coloratura tenor Bruce Ford. He was dramatically imposing as the sometimes deranged, often irate character who in some ways resembles Shakespeare's King Lear. Ashley Holland gave the audience a rather mild version of Don Pedro, the man who kept his relationship with Maria a secret until she revealed it to the court. He could have made his portrayal much more interesting if he had been more emphatic in his early scenes, but he sang with wonderfully supple tones that held him in good stead with bel canto lovers.

As Maria's sister, Inez, soprano Karin Wolverton showed that she, too, has an affinity for early 19th-century music and the flexibility to sing it well. She excelled in the above mentioned duet with Maria. Raymond Ayers, Theodore Chletsos, Seth Keeton and Anna Jablonski were strong interpreters of the smaller parts and each of them added measurably to the value of the performance.

Stage director Jose Condemi took a rather old fashioned story and made it come alive with an excursion into the psychology of a troubled mind. Cameron Anderson, the designer, added to this concept with a symbolic setting containing cages and picture frames that represented the inability of the characters to break out of their habitual ways of thinking. Francesco Maria Colombo led the orchestra in a moderately fast reading of the piece but he was able to maintain a translucent clarity throughout the performance.

Maria Padilla: Bruce Ford (left) as Don Ruiz, and Ashley Holland (right) as Don Pedro Photo: Michal Daniel

For the first time in more than a century the New Orleans Opera is staging Richard Wagner's Der Ring des Nibelungen. This season's opera is Siegfried, but because the cycle is being pieced together over more than four years Götterdämerung will not be given until the fall of 2006.

The March 9 performance was conducted in fine Wagnerian style by the company's artistic director, Robert Lyall, who led members of the Louisiana Philharmonic in a reduced orchestration of the work. He maintained the propulsive motion of the score and never let its tension sag throughout the entire piece. Serbian stage director Dejan Miladinovic gave a traditional rendering of the story and Erhard Rom's sets were an elegant backdrop for the projection of the truly beautiful images created by Don Darnutzer. Unfortunately, some of the costumes and wigs were not on the same level as the decor.

Jon Frederic West was a valiant Siegfried with more than sufficient stamina for the marathon role. Not only that, he had good dramatic sense and was able to color his vocal tones to emphasize the words. Best of all, he still sounded fresh in the final duet with Brünnhilde. Two members of the cast were native to Louisiana: Anthony Laciura who offered a strikingly well constructed interpretation of Mime, and Jeanne-Michèle Charbonnet, the spirited Brünnhilde who sang her part of 'Heil dir Sonne' with shimmering tones.

Clayton Brainerd was a sonorous Wanderer who imbued his role with the nobility of his character. A cunning Alberich, Harry Dworchak proved to have a strong dramatic voice and excellent diction. Herbert Eckhoff was a booming Fafner, Marion Pratnicki sang Erda's music with a voluptuous sound and Jane Redding was a brilliant Forest Bird.

It wasn't summer or even a bright sunny day, but on March 12 Salt Lake City's Utah Opera presented Benjamin Britten's A Midsummer Night's Dream. Despite the snow on the surrounding mountains, the opera's charm brought warmth to the stage of the Capitol Theatre and Pamela Berlin's thoughtful direction helped the cast tell the light hearted story in an interesting manner.

Counter tenor David Walker gave a precise rendition of Oberon's music and impressed the onlookers with his vocal artistry. A good looking young man, he combined musicality, comedic timing and stage presence to create a fascinating character. Celena Shafer, familiar to many from her excellent performances at Santa Fe Opera, was a sympathetic Tytania who sang the most difficult coloratura passages with ease. Her physical beauty was enhanced by Susan Memmott Allred's well fitted, attractive costumes, and she played her part with emotional intensity.

John McVeigh's warm, mellifluous tenor and his mastery of stagecraft made him an excellent Lysander. Another audience favorite was bass baritone Kevin Short who sang the part of Bottom with stentorian tones. Dean Anthony was a charismatic Puck while Paula Murrihy and Michael Rice were charming as Hippolyta and Theseus. Mezzo-soprano and former Santa Fe apprentice Leah Wool was a fresh voiced Hermia and Daniel Okulitch was a dramatically effective Demetrius.

This performance marked the Utah Opera debut of Keith Lockhart, music director of the state's symphony orchestra. He gave a brisk reading of the work which brought out the varied orchestral colors and distinctive leitmotifs of this twentieth century piece. The excellent choristers who showed their proficiency at both singing and dancing were provided by the Madeleine Choir School. Tina Misaka's choreography provided some extra visual spice to this very enjoyable event which provided the Salt Lake City audience a few hours of vacation from winter.

© Maria Nockin, 30 March 2005 

April

The Consul at the Arizona Opera: Dana Beth Miller as Magda, Jason Ferrante as the magician, Andrew Gray as Mr Kofner, Jennifer Nagy as the foreign woman, Juliana Rambaldi as Anna Gomez and Korby Myrick as Vera Boronel Photo: Tim Fuller

San Diego Opera presented the revised 1881 version of Giuseppe Verdi's Simon Boccanegra, on April 3, some 21 years after its last performance by that company. Although many opera companies with budgets similar to San Diego's are presenting only sure fire ticket sellers like La traviata, this company continues to give its audience some unusual works and even an occasional new one along with the usual fare.

Simon Boccanegra at the San Diego Opera: Lado Ataneli in the title role Photo: Ken Howard

Boccanegra was done last summer in Santa Fe and the California company used its costumes together with new scenery by John Coyne that was more realistic and detailed than what we saw in New Mexico. Effective projections revealed not only the beauties of the Italian sky but aided the audience's understanding of this complicated plot by showing a bit of applicable text before each scene.

Anja Harteros as Amelia and Lado Ataneli as Simon Boccanegra Photo: Ken Howard

Boccanegra is often thought to be a dark and gloomy piece because it features mainly the lower male voices, but for those who enjoy baritones and basses it provides a glorious evening. Lado Ataneli, who sang the title role, is a baritone of international stature with a distinctive sound to his hefty, mellifluous voice. He is also a fine actor and he used both of these rare talents to treat his audience to a magnificent portrayal of the 14th-century Doge of Genoa. It is Boccanegra's enemy, Fiesco, however, who gets to sing the most memorable aria in the work, 'Il lacerato spirito'. Armenian bass Arutjun Kotchinian was easily up to the task, bringing his role off with skilful acting and resonant low tones.

Simon Boccanegra: James Westman as Paolo (left) and John Marcus Bindel as Pietro, during the council chamber meeting Photo: Ken Howard

The love interest in the piece involves Boccanegra's long lost daughter, Amelia, sung by the graceful Anja Harteros, and Gabriele Adorno, portrayed by the rather stolid tenor, Carlo Ventre. His big resonant voice carried well in the theater and Harteros sang her part with lustrous, radiant tones. James Westman was a sinister Paolo whose singing added measurably to the enjoyment of the evening, as did the smaller contributions of John Marcus Bindel, Andrew Ranson and Ava Baker Liss.

Conductor Edoardo Müller brought out the exquisite details of Verdi's magnificent orchestration. The San Diego Symphony responded with accurate playing and a beautiful palette of tonal colors. It was an unusual opera and it scored a tremendous hit with the usually cool Sunday audience.

Lado Ataneli as the dying Simon Boccanegra with Arutjun Kotchinian as Jacopo Fiesco Photo: Ken Howard

Three weeks later, on April 16, the same company presented a 20th-century work, Samuel Barber's 1958 opus, Vanessa, which has a libretto by Gian Carlo Menotti based on a tale by Isak Dinesen. Soprano Carol Vaness is a star performer and Vanessa allowed her to show much of her versatility. She created a character that was credible, and very human, but not always likeable. Because her singing matched the situations of the piece, it was often more dramatic than beautiful, but she gave a memorable rendition of the role.

Samuel Barber's Vanessa at the San Diego Opera : Carol Vaness in the title role and Margaret Lattimore as Erika in the opening scene Photo: Ken Howard

Michael Yeargan's set was a lavishly adorned entry hall that had been designed for the Dallas and Washington opera companies. Costumer Martin Pakledinaz gave the title character colorful gowns but clothed the rest of the cast in dull colors. The stage direction by Garnett Bruce was straight forward but seemingly less than minutely detailed so that the singers had room to formulate their own characters.

Vanessa: Margaret Lattimore as Erika faints at the new year’s eve ball, after hearing the announcement that Anatol and Vanessa are engaged Photo: Ken Howard

Although the Opera is entitled Vanessa, the most beautiful music in it is given to Erika, played here by the silken-voiced Margaret Lattimore. Her aria, 'Must the Winter Come so Soon' was the vocal highlight of the evening. Richard Stillwell provided some much needed comic relief as the doctor who admits he is not very good at his profession.

Carol Vaness as Vanessa Photo: Ken Howard

It's too bad that the Baroness, sung by veteran mezzo-soprano Judith Forst, has so few lines. Only in the last act did the audience hear how well she can still project richly honeyed tones. Barber's music is difficult to play, but the San Diego Symphony Orchestra, under the leadership of Music Director Karen Keltner, handled it with seeming ease and produced a performance that will be talked about for a long time.

Vanessa: Margaret Lattimore as Erika (left) and Carol Vaness as Vanessa with John McVeigh as Anatol and Richard Stilwell as the Doctor Photo: Ken Howard

Within the same week, on April 22, Arizona Opera revived The Consul. Both the music and the libretto for this work were written by Gian Carlo Menotti in 1949. Unlike Vanessa, which was composed for the Metropolitan Opera, The Consul was premiered on Broadway where it ran for eight months. With its emphasis on bureaucratic red tape, it was a subject of current interest at that time and, as conductor Joel Revzen remarked during the pre-opera panel discussion regarding immigration issues, it is as current today as it was then.

David Gordon's set for the consulate was mainly composed of stark plain black filing cabinets that gave off an aura of coldness. The Sorels' 1940's apartment was a Spartan working class family's home and the period costumes by Carrie Kunz carried out a theme of refined poverty. Robin Guarino's direction kept everyone under the social constraints of the period so that they told their story in a historically truthful manner.

The Consul at Arizona Opera: Dana Beth Miller as Magda Sorel and Victor Benedetti as John Sorel Photo: Tim Fuller

This performance presented a trio of strong women. Dana Beth Miller was a credible and robust-voiced Magda who succeeded in involving the audience emotionally with her travails. As her mother-in-law, Joyce Castle sang many of the dramatic passages that we are used to hearing from her, but she also showed a softer side and her sweetly sung lament over her dead grandchild was one of the most touching moments in the opera. Emily Golden was a formidable secretary who kept everyone in the waiting room in order, never paying attention to their needs but singing with thrust and vocal acumen.

Victor Benedetti was a commendable John Sorel, Benjamin Sorenson a spectacularly malevolent secret agent and Jason Ferrante provided some refreshing moments of light entertainment as the Magician. As the Foreign Woman, Jennifer Nagy was persuasive. Juliana Rambaldi was an interesting Anna Gomez and warm voiced Korby Myrick was properly aloof as upper class matron, Vera Boronel.

All of this wonderfully impressive performance was held together by Joel Revzen's conducting. He brought out the tapestry of colors that Menotti wove into this stunning piece. Although the maestro took over the leadership of this company last year, we are just now beginning to notice that he gives his audiences more than a steady diet of the most popular operas. Arizona is growing up artistically, and its opera company is taking advantage of the fact that it can now fill the house for more sophisticated works.

The Consul: Dana Beth Miller as Magda Sorel Photo: Tim Fuller

Opera San Jose has recently moved to a much larger theater, so it now has a wider choice of operas to produce. One of its more adventurous selections this season was Richard Wagner's Der fliegende Holländer, a demanding piece that requires such a large orchestra that is not often done by smaller companies.

Stage director Olivia Stapp and her creative team treated the San Jose audience to a powerfully symbolic production that included multi-faceted projections by Ethan Hoerneman. These images illustrated the entire overture with swirling vivid colors and throughout the work they added to the effectiveness of Giulio Cesare Perrone's sparse scenery. The projections not only served to underscore the story but, at the end, they formed an abstract apotheosis from which the Dutchman and Senta were absent.

Lori Decter, who sang Senta, has a strong voice that seems to be made for Wagner's music. She appeared to be totally at ease with her music and turned her legendary character into a real, but none the less obsessed, young woman. Although her vibrato was sometimes a bit wide, her soaring high notes made her triumphant in this role. Jason Detwiler has a beautiful baritone voice but it may be a shade too light for the part of the Dutchman in some houses. Except for one or two passages where his intonation was not exact, he gave a fine account of the spellbound seafarer. Since he is a consummate actor, his character was thoroughly convincing.

Michele Detwiler was an officious Mary who sang in excellent German. As Daland, Kirk Eichelberger's large impressive bass voice resonated throughout the hall and his good acting made him a believable, but villainous, father. Adam Flowers has a hefty tenor voice with a lyric quality which rode smoothly on top of Wagner's heavy orchestration. He gave a most appealing portrayal, making some onlookers feel sorry that his love was so completely unrequited. As the Steersman, Bill Welch, sang with beauty of tone but seemed a bit nervous in his vocal production.

Conductor David Rohrbaugh led his players at a brisk pace propelling them forward into the maelstrom of this wonderfully orchestrated piece. Both singers and instrumentalists benefited from his knowledge of Wagnerian performance tradition and, since he kept the tension taut, the hours flew by. This production showed that Opera San Jose can perform in various styles and bring them off successfully.

Not many premieres are held on Sunday afternoon, but Les pechêurs de perles is an old style melodic opera and therefore perfect for matinee goers. The New York City Opera presented this tuneful piece on April 10 in the colorful but somewhat controversial production by designer Zandra Rhodes that had earlier graced the stage of San Diego Opera. Her sets look like enlarged marker drawings with palm trees and primitive structures drawn in the exuberant colors of an exotic dreamscape. Her costumes, too, were imaginative and added to the beauty of the total picture.

Director Andrew Sinclair told the somewhat complicated story in as straightforward a manner as possible, and choreographer John Malashock created some interesting motions for his dancers. Making his company debut with this work was conductor Emmanuel Plasson who quickly captured its French spirit. His excellent handling of the orchestra resulted in a beautifully blended tapestry of variegated color and texture.

Also making his NYCO debut was tenor, Yegische Manucharyan as Nadir, who sang most of his part, including the famous Act I duet, with beautiful burnished tones but with a slightly tight approach to the highest notes. Veteran artist Stephen Powell was a dramatic Zurga. He handled his challenging role in fine style and was a fervent, strong voiced partner in the duet.

The love of both these gentlemen was Leila, portrayed by the bright voiced soprano, Mary Dunleavy. Looking like a vision in her exotic robes, she sang with technical security and dramatic vocal colors. Bass Brian McIntosh was an authoritative Nourabad who helped make the dramatic portrayals viable.

Although the chorus sang with dulcet tones that added much to the musical integrity of the work, they moved as a group rather than individual villagers. All told, though, this was an interesting and successful East Coast restatement of the California production with a generally fine cast.

© Maria Nockin, 1 May 2005 

May

La bohème at San Diego Opera: Ryan Allen as Alcindoro and Ute Selbig as Musetta, with members of the chorus Photo: Cory Weaver

Margaret Garner is the first opera by composer Richard Danielpour. It was commissioned by Michigan Opera Theatre. They wanted a piece that could serve to unite the Detroit area's ethnically diverse community. Author Toni Morrison fashioned the libretto from some passages in her 1993 Nobel Prize winning novel, Beloved.

The opera tells the story of Margaret, an escaped and recaptured slave, who chooses to kill her children rather than have them face lives of forced servitude. This dramatic libretto is accompanied by an easily accessible, lyrical score which includes various types of American music. At its premiere on May 7, Steven Lano conducted with insight and verve, bringing to life the composer's wide spectrum of orchestral colors and making the various aspects of this work come together as a dramatic whole.

Margaret Garner at Michigan Opera Theatre: Angela Brown as Cilla, Gregg Baker as Robert Garner, and John Mac Master as Casey Photo: John Grigaitis

Kenny Leon directed the work in a thoughtful manner that allowed the music to bring out the pathos of the story. The simple sets by Marjorie Bradley Kellogg were easily adapted to various scenes. Actual quilt patterns gave the feeling of ante-bellum decor and Duane Schuler's subtle lighting added to the mood of the time. Paul Tazewell pointed out the differences in lifestyle between the slaves and their owners by dressing the African Americans in the plainest of designs while the Caucasians wore more colorful, detailed outfits.

Margaret Garner at Michigan Opera Theatre: Michael Mayes, Roger Honeywell, and James Patterson as the judges, Denyce Graves as Margaret Garner, and Kelly Kaduce as Caroline Gaines Photo: John Grigaitis

The title role was sung with beauty of tone and great intensity by Denyce Graves. It was obvious that it had been written for her because it fits her abilities perfectly. Gregg Baker was a powerful, robust voiced Robert Garner and Angela M. Brown, who electrified Met audiences as Aida this past season, was an impressive, lustrous voiced Cilla. Although Rodney Gilfry was ill, he carried off his part with conviction and sang with elegance. John MacMaster sang a malicious Casey and Robert Honeywell was an evil sounding auctioneer.

This was a momentous undertaking for Michigan Opera Theatre and its success will long be remembered there. Since this was a co-commission, the new work will also be seen at Cincinnati Opera in July and at the Opera Company of Philadelphia next year.

Fidelio at Pittsburgh Opera: Donnie Ray Albert as Don Pizarro and Kevin Langan as Rocco Photo: David Bachman

On May 14, Pittsburgh Opera presented Ludwig van Beethoven's only opera, Fidelio, in an updated production that kept its story intact. The company made a serious attempt to relate the early 19th century piece to the plight of more recent political prisoners and the stories of many of the latter were on display in the lobby. The production, originally seen in Seattle, was conceived by Chris Alexander but directed in Pittsburgh by Helena Binder.

Robert A. Dahlstrom's sets depicted a modern prison complex with computerized surveillance. Spotlights made escape seem hopeless while mid 20th century costuming by Catherine Meacham Hunt underlined the relationship between the opera and political events of the recent past.

Fidelio: The opera chorus as the prisoners Photo: David Bachman

Susan Marie Pierson was a formidable Leonore who easily convinced onlookers that she had the courage to perform the dangerous rescue. She made expert use of dynamics while singing with stylistic command, well projected radiant tones and, when called for, dramatic vocal colors. As the physically spent but mentally alert prisoner, Graham Sanders gave an exciting rendition of his opening aria and did most of his acting with his voice. The emotion packed reunion of husband and wife at the end of the opera definitely plucked at the audience's heart strings.

Fidelio: The opera chorus as the prisoners and their loved ones Photo: David Bachman

Perky, clear voiced Pittsburgh Opera Center graduate Tammy Tyburczy made Marzelline come alive. Jason Collins, also a graduate of the opera's young artist program, sang with artful phrasing while portraying Jaquino as a likely suitor for her hand. Veteran bass Kevin Langan produced burnished tonal colors and brought out the many facets of Rocco's character. Donny Rae Albert was a sonorous Don Pizarro, but his warm sounding voice kept his portrayal from being totally evil, while Tim Mix was a rather ambiguous but dramatic sounding Don Fernando.

The male choristers gave a spirited rendition of the Prisoners' Chorus and when joined by the women at the finale, the whole group brought this emotion laden piece to a rousing conclusion. Conductor John Mauceri led the orchestra in a musically riveting rendition of Beethoven's immortal work and the audience rewarded the performers with a well deserved standing ovation.

La bohème at San Diego Opera: Andrew Collis as Colline, James Scott Sikon as Schaunard, Ryan Allen as Benoit, Scott Hendricks as Marcello, and Richard Leech as Rodolfo Photo: Cory Weaver

Every five years San Diego presents an old favorite, La bohème, and it always sells out. On Tuesday evening, May 10, the company's 1990 production still looked fresh and new. John Conklin's realistic sets had just the right touches of impressionism to recall the time in which the story took place and the beautifully fitted period costumes by Martin Pakledinaz were flattering but not overly ornate.

Director Ian D Campbell made good use of the contrast between the devil-may-care life style of the four men living in the garret and the increasingly tragic love story of Rodolfo and Mimi which eventually affects them all. Campbell also put together the cogent surtitles that always gave the correct translation at the right time.

Richard Leech is a very experienced Rodolfo and he gave a rock steady, ardent portrayal of the Parisian lover. He still has ringing high notes and he used them to great advantage at the end of Act I. Fabiana Bravo, who made her San Diego Opera debut in this production, was somewhat over cautious in the first act but came into her own afterwards, singing with an opulent, warm voice of ample size. Her acting was skilful and her rendition of 'Addio senza rancor' was especially moving.

La bohème: Richard Leech as Rodolfo and Fabiana Bravo as Mimì at the Café Momus Photo: Cory Weaver

As a capricious Musetta, Ute Selbig sang her Waltz with lustrous tones and acted her part to the hilt. She was not only able to show her character's capriciousness in Act II but also her more serious attributes in the final scene. As Marcello, Scott Hendricks's rich voice blended well in the ensembles as did that of James Scott Sikon, the Schaunard. Australian bass Andrew Collis made a sonorous debut as Colline. Ryan Allen was a petulant Benoit and a long suffering Alcindoro while Tom Oberjat was a colorful Parpignol.

Newly appointed Principal Guest Conductor Edoardo Müller guided the entire performance with a knowing hand, eliciting excellent playing from the orchestra and fine musicianship from the singers.

La bohème: Richard Leech as Rodolfo and Fabiana Bravo as Mimì in the final scene Photo: Cory Weaver

On May 7 Seattle Opera unveiled a brand new production of Offenbach's Les contes d'Hoffmann by director Chris Alexander who succeeded in forming a coherent whole out of the several stories that form the opera. He used stage magic to unite the mundane with the mysterious and occult. The sets by Robert A. Dahlstrom were realistic, even down to an accurate reproduction of Venice's Grand Canal, but they were always augmented by mysterious appearances and swirling mists that cloaked some of the stagecraft. Robert Wierzel's lighting helped greatly in maintaining the air of mystery while Maria Theresa Cramer's costumes added rich colors and intricate designs to the picture.

Vinson Cole was a splendid Hoffmann. His fresh, romantic voice soared easily over the orchestra. He combined emotional directness with dramatic intensity and his character became totally believable despite the libretto's flights of fancy. Helene Schneidermann was a sympathetic and silken toned muse. As Olympia, Harolyn Blackwell sang with silvery tones and looked appropriately doll-like. Nancy Fabiola Herrera was a sultry voiced, sexy Giulietta and Marie Plette was an affecting Antonia.

Baritone John Relyea was superb in his interpretation of each of the villains who haunt Hoffmann and the women he loves. Whenever he was on stage magical things happened so he seemed to be a creature who was not bound by the laws of physics. Since he has a resonant baritone voice with an extended range, he negotiated the high tessitura of 'Scintille diamant' with seeming ease.

Also playing several parts, Doug Jones was amusing as the servants. Carolyn Kahl was a haughty Stella, magnificent in her ornate gown, Steven Cale was a comic Spalanzani, Arthur Woodley a tormented Crespel and, on his 80th birthday, Archie Drake was a credible Luther. This production will also be seen at theaters in Arizona, Cincinnati, Dallas and Minneapolis, so opera goers in many parts of the country will get to enjoy its beauty.

On May 14, Utah Opera presented Wolfgang Amadeus Mozart's Cosi fan tutte in a traditional production by Harry Silverstein who is best known for his work with Philip Glass. For Salt Lake City, he took Lorenzo da Ponte's libretto literally and set the story much as it might have been staged in the composer's time, except for the very end where at each performance Fiordiligi and Dorabella were given the task of deciding whether to reunite with their original lovers or go off with the new ones. Da Ponte left that for the audience to decide on their own.

The sets, which were built for Seattle by Robert A. Dahlstrom, featured tall pillars that could be combined with smaller items to form a credible background for each of the opera's many scenes. Original for this production were Memmott Allred's intricately styled authentic eighteenth century costumes with matching feathered hats.

William Lacey, who made his Utah Opera debut with this performance, conducted with crisp tempi and drew some admirably precise playing from his musicians but there were also a few moments when he failed to keep the orchestra and singers together.

Serena Benedetti was a poised and energetic Fiordiligi with a lyric rather than a dramatic soprano voice. She soared though the role's coloratura runs with quicksilver agility and seemed to have little trouble with its cavernous intervals. Her sister, Dorabella, was sung by Kirstin Chavez who is better known for earthy roles like Carmen. Here she was a true 18th century lady who sang stylistically accurate Mozart and blended beautifully in the ensembles.

Tenor George Dyer is a favorite in the Utah city for a good reason, and his portrayal of Ferrando was secure both vocally and dramatically. Like Benedetti, his voice was on the light side for the part, but they sounded well together. NYC Opera baritone Gary Lehman not only sang well, he proved to be a good comedian which helped a great deal with this opera's plot.

Kristof Irmiter was a knowledgeable and understanding Don Alfonso who sang with stentorian tones. His interpretation made the point that women are human and as apt to be tempted as men. His partner in the deception, Despina was played with dramatic flair and great comedic style by Kathleen Brett. Cosi is a charming piece and the Utah opera gave it a fine outing.

© Maria Nockin, 1 June 2005 

June

Der Rosenkavalier at Los Angeles Opera: Garrett Sorenson as The Italian Tenor Photo: Studio Helnwein

On June 16, the Los Angeles Opera presented Richard Strauss's Der Rosenkavalier, staged by actor and film director Maximillian Schell. Controversy appears to bring new audiences to the opera and LA brought us the type of thought provoking production that has proved popular in Europe.

Each act opened with a few minutes of film, from Strauss and (his librettist) von Hoffmansthal's own 1925 silent movie of the same name, projected on the back wall of the setting. The stage was almost always full of people, some of them supers wearing the primary color of that particular scene. He chose blue for Act I, yellow for Act II and red for Act III. The principals had matching wigs and makeup, too, but in Acts I and II Ochs was in a contrasting hue and in Act III the Marschallin was again in blue.

Der Rosenkavalier: Kurt Rydl as Baron Ochs Photo: Studio Helnwein

It's hard to know what the director's instructions to the principals were, but the Marschallin, in particular, sang many of her lines to the conductor. Gottfried Helnwein's scenery was rather plain, but his costumes, especially those for Baron Ochs, were extraordinarily brightly colored and detailed. Very little seen on that stage resembled a traditional production of Der Rosenkavalier.

Der Rosenkavalier: chorus members as Baron Ochs’s retinue Photo: Studio Helnwein

On this occasion, Margaret Thompson, originally cast as Annina, sang Octavian instead of the ailing Alice Coote and established herself as an artist who can take over unexpectedly and come out a winner. Her stage presence was magnetic and she sang with a beautifully controlled voice, excellent intonation and good diction. Adrianne Pieczonka was a young and girlish Marschallin who sang with a shimmering sound that was rather light for the part. Veteran bass Kurt Rydl appeared to be at his best in this production. His Act II duel with Oktavian was truly hilarious and he reached all the notes of his difficult role with seeming ease. Elizabeth Futral was a thinking Sophie, and her interpretation may have been a bit modern for the piece, but she sang with luscious bright tones.

Der Rosenkavalier: Kurt Rydl as Baron Ochs Photo: Studio Helnwein

With Thompson singing Octavian, Susanna Guzmán stepped into the role of Annina and was perfect in the part. She sang the waltz with a true Viennese lilt and made no secret of her feelings toward Ochs when he did not tip her. Anthony Laciura was properly conniving as her companion, Valzacchi, and Garrett Sorenson was a lyrical Italian tenor. Robert Bork was a strong voiced, authoritative Faninal, but Susan Foster sounded a bit tired as Marianne.

Der Rosenkavalier: Elizabeth Futral as Sophie Photo: Studio Helnwein

Conductor Kent Nagano, who is leaving the post of music director at the end of the season, gave us some fabulous aural memories, conducting with great energy while keeping the rhythms taut. It was not a traditional Rosenkavalier, but it was an interesting production topped by a fabulous musical performance.

Grétry's Zémire et Azor at the Opera Theatre of St Louis: Anna Christy as Zémire and John Osborn as the Beast Photo: Ken Howard

On Sunday evening, June 5, Opera Theatre of St Louis presented André-Ernest-Modeste Grétry's opera Zémire et Azor, in an English version called 'Beauty and the Beast'. Artistic director Colin Graham constructed a very singable translation and even wrote the spoken dialogue as rhymed couplets. This charming work was an excellent choice because its rich, simple melodies can appeal to audiences of all ages. The original piece was admired by the court of Louis XV. It was played successfully in London during 1776 and in New York City eleven years later, long before the first performance of an Italian opera there.

Zémire et Azor: John Osborn as Azor ('the beast') Photo: Ken Howard

Director and choreographer Renaud Doucet had his characters engage in imaginative motions while designer André Barbe created a magical world in which 'the beast', Azor, sung by John Osborn, was a fully feathered owl. Although his costume covered part of his face, he sang with a strong virile voice and moved gracefully on stage. His love, the beautifully attired Zémire, was Anna Christy, who sang her high tessitura with notable accuracy and combined visual piquancy with dramatic flair.

Zémire et Azor: Jeremy Little as Ali, the servant Photo: Ken Howard

It is said that Mozart liked this opera and it could be that Ali, the role elegantly performed by Jeremy Little, is a forerunner of Papageno. Baritone Hugh Russell showed off his stentorian tones as Zémire's father, Sander, while the amusing sisters, Lisbé and Fatmé, were sung in fine style by Alison Tupay and Kiera Duffy.

The only problems with the presentation of this piece seemed to be in the pit. Conductor Jeannette Sorrell, who is a baroque specialist, had some coordination and intonation difficulties with the strings, but they were not serious enough to take away from the joy of hearing this beautiful but previously little known work.

Zémire et Azor: Anna Christy as Zémire and Hugh Russell as her father Photo: Ken Howard

On June 4, Michigan Opera Theatre presented Gaetano Donizetti's opera buffa, La fille du régiment, in the English translation by Ruth and Thomas Martin. Director Dorothy Danner updated the setting from 1840 to 1880 and related it visually to some of the more physical comedies of Gilbert and Sullivan. For example, the scene played during the overture showed soldiers and civilians chasing each other in a manner similar to the Keystone Cops. The translation was also changed in order to add some jokes and simplistic banter relating to the appearance of comedian Ira Siff, better known to New York audiences as Mme. Vera Galupe-Borszkh.

This opera is about singing, however, and the musical aspects of the evening were first class. Conductor Suzanne Mallare Acton gave a propulsive reading of the light romantic score and the orchestra played with translucent, rhythmically vital sound. She also prepared the chorus which sang commendably and moved naturally.

La fille du régiment at Michigan Opera Theatre: Tracy Dahl as Marie, with Peter Strummer (left) as Sulpice and Rodrick Dixon (right) as Tonio Photo: John Grigaitis

Tracy Dahl was a charming Marie who could be a tomboy one moment and deliver agile, stratospheric coloratura with ease the next. After a bit of a slow start, she commanded the scenes in which she appeared. Her singing of the opera's sad moments was particularly touching. As Tonio, Roderick Dixon, had a somewhat colorless sound but, on this occasion, delivered 11 high C's, two more than usual, in the famous first act aria, 'Pour mon âme.'

Peter Strummer had excellent diction and a robust sound as Sulpice while Judith Christin, who can always make a comic character come to life, was a haughty and amusing Marquise de Birkenfeld. This last production of the season was bound to send the audience off to summer vacation in a joyous mood.

La fille du régiment: Michael Shell (left) as Hortensius, with Judith Christin as the Marquise and Peter Strummer as Sulpice Photo: John Grigaitis

On June 15, Los Angeles Opera presented Verdi's Falstaff. This opera was his last work but only his second comedy. Because Un giorno di regno (1840), his early attempt at this genre, was a total failure, he stayed away from light subjects for almost a half century. His love of Shakespeare remained undiminished, however, and eventually with Arrigo Boito, the librettist of Otello, he began writing Falstaff, a piece that he considered a character study rather than a comic opera.

On this evening the leading role was to be sung by Welsh baritone Bryn Terfel, but because of a throat infection he was replaced by Richard Sutliff who created a recognizable, thoroughly human character. He was a bumbling, sometimes conniving but nonetheless lovable, corpulent knight who sang with rather dry tones. His comrades Bardolf and Pistol, sung by Greg Fedderly and Dean Peterson, also provided good comedy that augmented his characterization.

Director Stephen Lawless had all of his characters reacting to each other's lines and the interplay between them gave a very realistic touch to the whole piece. Kallen Esperian was a knowledgeable and solidly grounded Meg Page while Vassily Gerello was a strong voiced, believable Ford. The talents of Milena Kitic, who is a magnificent Carmen, seemed to be wasted on the part of Meg, but she sang it well and gave a more than adequate portrayal. As Mistress Quickly, Jane Henschel proved to be a fine actress who sang all the notes but with little resonance.

Daniil Shtoda was a golden toned Fenton with a rather small sound. His rival, Dr Caius was outstandingly well sung by David Cangelosi. Although the latter's tenor voice is not as sweet sounding as that of the Russian, it can pierce a large orchestra and carry to the highest rafters. Portraying the object of both their affections, Nanetta, was the steady toned, silvery voiced Celena Shafer who offered the most beautiful singing of the evening.

Hayden Griffin's sets were generally realistic and it was quite fascinating to see how his Act III Inn folded and turned into the great hollow oak tree from which Falstaff emerged for the final scene. Michael Stennett designed beautifully detailed costumes for the knight, but the garb he assigned to lesser characters was not nearly as intricate. The one musician who held the entire presentation together was, of course, conductor, Kent Nagano. His tempi were brisk and he kept each soloist in perfect synchronization with everyone else. It was a fine performance despite the absence of the one singer many people had come to hear.

On Friday evening, June 17, Lyric Opera of San Antonio presented Mozart's Don Giovanni at the Texas city's Municipal Auditorium. This over sized, all purpose hall which was built in 1926 and re-modeled in 1985 has some acoustical problems, especially on the main floor, but it seems to be the best local theater available for opera at this time.

The stage direction by John Gilas was traditional and he told the story of the wayward Spanish nobleman in a straightforward manner. Terry Cook was an amoral, but not terribly evil, Don who moved with authority and sang with burnished tones. Bass-baritone Mark Schnaible offered a distinctively contrasting sound and portrayed Leporello as a hardworking, if unwilling servant.

Mezzo-soprano Jossie Perez sang Donna Elvira with a warm voice and great agility. Her rendition of 'Mi tradì' was clear and precise while, at the same time, her character was almost at the point of losing control of her emotions. Rachelle Durkin, whose sensuous voice is heavy enough for Donna Anna showed dramatic intensity and good vocal coloration. Garrett Sorenson was an elegant Don Ottavio who moved convincingly. His singing was rather pale and monochromatic, but it was tonally accurate.

The attractive Zerlina, Christina Amonson, had a lustrous sound and sang with artful phrasing, while her groom was a dark toned Masetto who made it evident that he did not want to acquiesce to the power of the nobility. As the Commendatore, Christopher Dickerson sang with a little too much vibrato and the San Antonio chorus seemed rather under-rehearsed, but all told, this was a good performance with fine artists in the leading roles along with well balanced, incisive conducting by Stephen Dubberly.

San Antonio has had trouble keeping an opera company, but they had a memorable season this year and we can hope they will have continued success.

© Maria Nockin, 1 July 2005 

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.

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