Elektra

Elektra

Friday, January 19, 2018

Thursday, January 18, 2018

It's Called Don Carlo For a Reason

FFS, LA Opera's web page for next season's Don Carlo production is disgraceful.

Here's the graphic, which is of the guy playing Rodrigo....the way he looked about 25 years ago:


I guess that's Ramon Vargas in the lower-left-hand corner.

And the text is just as bad:


Yeah, we all know that former-tenor Domingo sells more tickets than Vargas, but wow. This is really insulting and a distortion of the opera.






LA Opera 2018-19

A good season, with a few things I'd like to see. Copy and pasted from press release, a few comments in brackets.

MAINSTAGE PRODUCTIONS(presented at the Dorothy Chandler Pavilion)
Don Carlo (Giuseppe Verdi)
September 22 through October 14, 2018; revival
James Conlon conducts a cast led by Ramón Vargas in the title role, with Ana María Martínez as Elisabeth de Valois, Anna Smirnova as Princess Eboli, Ferruccio Furlanetto as King Philip II, and Plácido Domingo as Rodrigo. The production by Ian Judge returns to Los Angeles for the first time since 2006. [Not after the fab cast we had in 2016 in SF.]
Satyagraha (Philip Glass)
October 20 through November 11, 2018; company premiere
Following the extraordinary success of Einstein on the Beach (2013) and Akhnaten (2016), LA Opera completes the Philip Glass operatic trilogy about great thinkers who changed the world. Satyagraha (Sanskrit for “truth force”) is inspired by Mahatma Gandhi’s early years in South Africa, where he developed the radical new idea of nonviolent political resistance. Grant Gershon conducts a production created by Phelim McDermott (director of Akhnaten) for the Metropolitan Opera and English National Opera, starring Sean Panikkar as Gandhi. [YES.]

Hansel and Gretel (Engelbert Humperdinck)
November 17 through December 15, 2018; revival
James Conlon conducts a revival of Doug Fitch's dreamlike production, full of fantastical sets and elaborate special effects. Sasha Cooke and Liv Redpath sing the title roles, with diva extraordinaire Susan Graham as the uproariously wicked witch, eager to lure her young victims into a delicious trap. [YES YES YES. Can you tell that I love this opera? and the cast? Although....I favor a dramatic mezzo as the Witch.]

La Clemenza di Tito (The Clemency of Titus) (Wolfgang Amadeus Mozart)
March 2 through 24, 2019; company premiere; new production
James Conlon conducts La Clemenza di Tito,  Mozart's final opera seria, written simultaneously with The Magic Flute in the last months of the composer's life. The new production is directed and designed by Thaddeus Strassberger, who previously staged LA Opera productions of The Two Foscari (2012) and Nabucco (2017). Russell Thomas stars as the imperiled emperor whose generosity and compassion point the way to a brighter future. [YES YES YES so that I can finally say that yes, I have seen this.]
El Gato Montés: The Wildcat (Manuel Penella)
April 27 through May 19, 2019; production new to Los AngelesIn one of the greatest masterpieces of the Spanish lyrical theater, a beautiful gypsy (Ana María Martínez) unwittingly inspires a fatal rivalry between a renowned bullfighter (Arturo Chacón-Cruz) and a bandit on the run (Plácido Domingo). The quintessentially Spanish tale unfolds with passionate melodies, dazzling choreography and an atmospheric staging. Spanish conductor Jordi Bernàcer leads a production created by director José Carlos Plaza for Madrid's Teatro de la Zarzuela. [Probably, maybe.]
La Traviata (Giuseppe Verdi)
June 1 through 22, 2019; revival
James Conlon conducts a revival of Marta Domingo's popular Art Deco-inspired update of the Verdi classic. In the face of certain death, a beautiful courtesan dedicates her remaining time to decadent pleasures, dazzling parties and wealthy admirers. But she is transformed when a devoted suitor declares his true love, and demonstrates her great humanity with a heart-breaking sacrifice before her premature passing. Romanian soprano Adela Zaharai, the 2017 winner of Operalia, makes her company debut as the glamorous Violetta, with Rame Lahaj (a 2016 Operalia winner) and Charles Castronovo sharing the role of Alfredo. [So....who is singing Germont Pere? Dare I ask? The production is really not very good; it played in SF in 2009. Move Traviata into the 20s and what you have is...La Rondine, except she dies.]

OFF GRAND PRESENTATIONS
(presented in various venues)
 [All of these look VERY interesting, if I can take any of them in opposite a MainStage opera, I will.]
Vampyr (Joby Talbot)
October 27 through 31, 2018; world premiere
Our annual Halloween mash-up of opera and cinema returns to the spectacular Theatre at Ace Hotel with filmmaker Carl Theodor Dreyer’s surreal 1932 masterwork, underestimated for decades but now regarded as an important landmark of the horror genre. Composer Joby Talbot creates a compelling new score for chamber orchestra and singers, performed live with a rare screening of this cinematic gem, and conducted by Matthew Aucoin, LA Opera's Artist in Residence.
Presented at the Theatre at Ace Hotel (929 S. Broadway, Los Angeles, 90015)
Prism (Ellen Reid and Roxie Perkins)
November 29 through December 2, 2018; world premiere
A mother and daughter lock themselves away from the world to protect themselves from the dangers lurking outside. Prism explores the viscosity of memory after trauma, and the lengths one will go to feel better—no matter the cost. Marking LA Opera's fifth season of collaborations with Beth Morrison Projects, the Los Angeles world premiere presentation of Prism will be followed by performances at the Prototype Festival in New York.
Presented at REDCAT (631 W. Second Street, Los Angeles, 90012)
the loser (David Lang)
February 22 and 23, 2019; West Coast premiereTwo piano prodigies at a master class encounter an even greater talent: the virtuoso Glenn Gould, on the cusp of superstardom. The devastating realization that they will never approach their new rival’s level of artistry changes their lives forever. A painful meditation on dreams forsaken and hopes unrealized unfolds, with Rod Gilfry starring in an intimate staging that incorporates multiple levels of the spectacular Theatre at Ace Hotel.
Presented at the Theatre at Ace Hotel (929 S. Broadway, Los Angeles, 90015)
For more information about LA Opera’s Off Grand initiative, visit LAOpera.org/OffGrand.

Wednesday, January 17, 2018

San Francisco Opera, 2018-19



The season is pretty much what I thought it would be. Orlando Furioso (Vivaldi) turned out to be Orlando (Handel), and I'm fine with that. I'd heard that Brian Jagde wouldn't be singing in SF next season, but no! There he is as Cavaradossi again (he was in the last two bring-ups, Gheorghiu/Racette /Moore and Haroutounian).

I am....sorta dubious about some of this. Matthew Polenzani as Don José? Um. Marco Berti as anything? He "withdrew for personal reasons" after two performances of the 2014-15 Norma, to be replaced by Russell Thomas for the remaining five and was pretty terrible in the last Trovatore, with Sondra Radvanovsky and the late Dmitri Hvorostovsky.

On the other hand, the winning trio of Radvanovsky, Jamie Barton, and Thomas is back for Roberto  Devereux, and they're joined by Artur Rucinski, whom everybody loved in last year's Traviata.

Nice to see Rusalka back, and of course not in the by-now-moth-eaten Schenk, though why McVicar? Well, we luv him here. I would have preferred to see a production that really digs into the problems with the story, and I bet this does not. Nice cast, though.

I have somehow managed to see repertory staple Cav & Pag only once, back in the 80s; I skipped the last SFO bring-up, which must have been 10 or 15 years ago. I might have to see Tosca owing to Carmen Giannattasio. The bit of the production that got flashed on screen during the ten-minute season announcement looked like....primary-colors Sant'Andrea della Valle.

I vaguely thought that Heidi Stober might be Zdenka, especially after Ellie Dehn was announced as Arabella, and yup. It's pretty nicely cast. Return of Richard Paul Fink!

Again, nice cast for It's a Wonderful Life, which, with its sentimental streak crossed with torturing poor George Bailey, is not exactly a favorite film of mine. I'll see William Burden in pretty much anything and likely he will give a nuanced performance. Sorry not to see Anthony Dean Griffey as Uncle Billy, looking forward to hearing Golda Schultz. (I will say that making the angel female rather than the sad sack incompetent in the movie....might work better.)

I might need someone to explain to me what, exactly, this means, about Carmen: "San Francisco Opera production, originally created by Opera Australia based on the Royal Opera House, Covent Garden and Norwegian National Opera co-production." We own the physical production but the intellectual property comes from the ROH and NNO via Opera Australia? I'm confused!

Of interest is the conductor lineup: absent a music director, we're getting eight conductors for the season, six of them new to SFO main stage. Patrick Summers (Wonderful Life) and Riccardo Frizza (Roberto Devereux) are the returnees. Bel canto is what Frizza does well, so fine. The debutants are Daniele Callegari (Cav & Pag), Leo Hussain (Tosca), Marc Albrecht (Arabella), James Gaffigan (Carmen), Christopher Moulds (Orlando), and Eun Sun Kim (Rusalka). Kim will be one of the few women to conduct at SFO (previously: Sara Jobin and....anyone else?). (Yes, Karen Kamensek conducted Susannah in 2014, as JSC says in comments. I would have sworn that Jane Glover conducted here, but I cannot find her in the archive.)

I'm going to note that Santa Fe Opera is one of the Arabella production's co-producers, so it will presumably meet their requirements: no traps, no flies. I saw their Albert Herring in LA a few years back, and it was weird to see all the scenery wheeled in from the wings.

Lastly, the season announcement had nothing about Opera Lab or the Wilsey Center and neither does the press release. I have made inquiries.

The whole lineup is after the jump.

Monday, January 15, 2018

West Edge Opera: Snapshot

Received this week:

BERKELEY, CA, January 8, 2018:  WEST EDGE OPERA'S SNAPSHOT presents excerpts from new, previously unproduced operas by West Coast composers and librettists February 24 and 25, 2018. Inaugurated in 2017, the program is the first of its kind in the Bay Area and is a collaboration with Earplay, New Chamber Music Ensemble.

Performances will take place:

Saturday February 24, 2018  
8:00PM 
Independent Order of Odd Fellows Hall, 
2288 Fulton St, 
Berkeley, CA 94704  

Sunday February 25, 2018 
3:00PM  
Taube Atrium Theater, 
401 Van Ness Ave, 
San Francisco, CA 94102. 


Both venues are ideally suited to the intimate yet expansive demands of Snapshot and are conveniently close to BART. General admission tickets go on sale January 5 and will be available online at westedgeopera.org or by phone at 510-841-1903. Tickets are $40 each.

This year's Snapshot promises to showcase a diverse group of local and national artists in new works by West Coast composers, Cyril Deaconoff, Larry London, Brian Rosen, Katherine Saxon, and Erling Wold.
The Last Tycoon, music by Cyril Deaconoff and libretto adapted by David Yezzi, is based on F. Scott Fitzgerald's unfinished novel of the same name. The Russian born American composer, conductor, pianist, and organist Deaconoff (born Kirill Dyachkov), attended Gnesine State Music College and is a graduate of the Moscow State Tchaikovsky Conservatory (Composition and Choral Conducting). His recent work String Quartet No. 1 was selected by the San Jose Chamber Orchestra for their concert of contemporary music entitled Valley Voices. He has received commissions from the Vallejo Choral Society and the Arts Council Silicon Valley. In November 2011, West Bay opera in Palo Alto presented a workshop of The Last Tycoon.

Dynamo, music by Larry London and libretto by William Smock, features brief, crucial scenes from the professional and family life of Thomas A. Edison. London did his undergraduate work at Harvard and earned a Master's degree in composition at Mills College. He studied with Darius Milhaud, Terry Riley, and Lou Harrison. His compositions have been performed at the Aspen and Cabrillo Music Festivals, by the Oakland Symphony and the San Francisco Symphony chamber series. London has contributed as a composer, arranger, or performer to over fifty films. He composed the music for Isamu Noguchi: Stones and Paper, an American Masters documentary film, recognized as Best Portrait at the Montreal International Festival of Films in 1998. He wrote music for Joann Sfar Draws from Memory, a documentary film for KQED Public Television in 2012.

Death of a Playboy, music and libretto by Brian Rosen, revolves around a heated private discussion that threatens to disrupt Hugh Hefner's funeral. Rosen is a San Francisco based composer/performer specializing in works that marry music and theater. Brian studied music composition at Interlochen Arts Academy and computer science at Princeton University. He moved to the Bay Area in 1993 to join Pixar Animation Studios for their first full length film, Toy Story and remains on staff as a software engineer, technical director, and occasional voice talent. Brian has written and arranged for the a cappella ensemble The Richter Scales, completed a commissioned operatic adaptation of Alice in Wonderland for Cinnabar Opera Theater, and composed a string quarted premiered and recorded in 2010. He recently received a grant from the American Comnposer's Forum for the premiere of his song cycle A Brief History of Love and Poetry.

In 452 Jamestown Place, music and libretto by Katherine Saxon, a young woman terrifies her boyfriend with outbursts from multiple personalities. Saxon has writen a wide variety of music that ranges from large-scale choral works to intricate chamber music. Her music has been performed at the Atlantic Music Festival, NACUSA events (regional and national), the Bowdoin International Music Festival, and the UCSB Primavera Festival. Her work Speed and Perfection received the first prize in the San Francisco Choral Artists' 2012 New Voices Competition.

She Who is Alive, music by Erling Wold and libretto by Robert Harris, features the warlord of a futuristic empire as he gives a dissident female scientist prisoner the third degree. Wold is an eclectic composer who has been called, "the Eric Satie of Berkeley surrealists/minimalist electro-art rock," by the Village Voice. His chamber works have been presented in San Francisco and Santa Cruz by New Music Works and by the San Francisco Conservatory New Music Ensemble. He was a resident artist at ODC Theater, who presented his opera Sub Pontio Pilato, an historical fantasy on the death and remembrance of Pontius Pilate, a chamber opera based on William Borroughs' early autobiographical novel Queer, and his critically acclaimed work A Little Girl Dreams of Taking the Veil, based on the Max Ernst collage novel.

Performers featured in Snapshot include sopranos Heidi Moss and Julia Hathaway; mezzo-soprano Molly Mahoney; tenors J. Raymond Meyers, Jacob Thompson, and Darron Flagg; and baritone Jason Sarten.
Snapshot will utilize the unique spaces at the Independent Order of Odd Fellows Hall and the Taube Atrium Theater at the Wilsey Center for Opera. Odd Fellows Hall is a high-ceilinged neoclassical space designed by James W. Plachek in 1925. The hall is a ceremonial space with iconic stained-glass details and a skylight that was painted black during WWII and never restored. The Taube Atrium Theater in the historic Veteran's Building at the heart of San Francisco's Civic Center reflects the soaring classicism of the Odd Fellows Hall, but with a renewed contemporary sensibility. Restored for San Francisco opera's new Wilsey Center for Opera, the space is electronically optimized for acoustic music with a Meyer Sound Constellation system.

Museum Mondays



Traminer Altarpiece Detail
Bavarian National Museum, Munich
August, 2015


Sunday, January 14, 2018

Process

I've been posted here and there on the internet about the Levine and Dutoit sexual abuse cases. I've gotten some comments about process and the swift ending of careers in the cases of both the conductors. Herein some thoughts on process.

There was an article in the Washington Post a couple of weeks back about a sexual harassment case in a completely different part of the public world, but it's awfully similar in some ways to what happened with Dutoit, different in other ways that bear on Dutoit.

The case in question is that of Judge Alex Kozinski. Some features of the situation:
  • Kozinski has a long history of questionable behavior.
  • Multiple women attesting to this.
  • Incidents took place over decades.
  • There's a whisper network of women warning each other about him.
  • These women generally told friends and family what had happened contemporaneously with the harassment.
  • Non-denial denials: "In an initial statement to The Post, Kozinski said he would 'never intentionally do anything to offend anyone and it is regrettable that a handful have been offended by something I may have said or done.'"
  • The federal judiciary has a procedure for dealing with this stuff, and a judge asked Chief Justice Roberts to appoint a an investigator. Kozinsky resigned (retired) a few days later.
Kozinski was not reported earlier in part because clerking is a big stepping stone in a lawyer's career and women he'd behaved inappropriately with were concerned about the effects of complaining on their careers. That's also a feature of the Dutoit case, where the conductor could hire or not hire soloists, and it's a feature of other music business harassment cases, I expect - nobody knows how many unreported harassers there are.

Also regarding Dutoit, with several of these orchestras, he resigned ahead of being fired. What I understand is that music director contracts almost always have "morals clauses," which govern how the MD is to behave, including not making the orchestra look bad. Guest conductor contracts can contain clauses setting forth circumstances under which an orchestra can fire the conductor. I would expect that some of these do cover the conductor's behavior. So that is part of the process: Dutoit signed contracts knowing what they contained and what the expectations are.

It is difficult to set a procedure for how to handle incidents that are far in the past. There's the question of whether behavior is unacceptable or illegal. There are statutes of limitations that come into play, but an organization that has someone under contract is also not obliged to ignore reports of past bad behavior, especially when there are reports from unrelated people and the incidents took place over decades. The fact that Dutoit withdrew from some engagements is telling, also: if these incidents never happened, he is free to hire a lawyer and take action against the accusers. He is apparently not doing this and his denials are of the sort "something happened and they're interpreting it differently from me."

Earlier this week, another six women came forward about their past experiences with Dutoit. He is alleged to have raped one of these women. Several of the women went on the record, though not the rape victim. Anne Sophie Schmidt, a now-retired opera singer, says that Dutoit never hired her again after she refused him.

Dutoit's behavior hasn't been a secret. Back in 1995, journalist Natasha Gauthier reported on this; nobody denied it and no orchestras did anything about it. The Philadelphia Orchestra passed over him twice as a potential music director because of his reputation for "extreme flirtatiousness" (and what a euphemism / lie that is).

The problem isn't that abusers such as Levine and Dutoit are losing their careers because of a lack of process. The problem is that musical organizations didn't have processes in place to protect musicians and other members of their organizations.

Here's an example: Fiona Allan, who says that Dutoit assaulted her at Tanglewood, was told the following by the BSO's manager:  "Before you see maestro, I need to tell you something,” she recalled the manager saying. “Look, we advise, we’ve had some complaints, and I wouldn’t go in there alone." That was the BSO's process! What bullshit! This was in 1997, 20 years ago, when Allan was an intern at Tanglewood. So if you see the BSO claiming that they never knew about Dutoit, well, they are lying. And if the BSO knew, other orchestras knew also.

If you work at a big company, and you find evidence that an accountant - or the CFO - has embezzled a couple of million dollars, you fire that person right away, before the charges are filed or the trial is held. You can't keep someone like that around. And nobody would complain about "lack of process."

This is no different. Don't tell me all about how Dutoit and Levine's careers were destroyed because of lack of process. Their own actions destroyed their careers. It's too bad that didn't happen decades ago, before they had the chance to damage their victims' lives and careers.

Friday, January 12, 2018

It's That Time of Year

Everybody is sick in NYC:
Alexey Lavrov will perform the role of Silvio in Leoncavallo’s Pagliacci on the Saturday January 13 matinee performance, replacing Alessio Arduini, who is ill. This performance of Cavalleria Rusticana/Pagliacci will be heard live over Toll Brothers-Metropolitan Opera International Radio Network. Alexey Lavrov previously sang the role of Silvio in Pagliacci at the Met in 2016 and has also sung the role at Opernhaus Zürich. This season Lavrov has sung the role of Ping in Puccini’s Turandot at the Met, and is scheduled to perform as Schaunard in Puccini’s La Bohème in February, a part he sang with the company last year. A graduate of the Met’s Lindemann Young Artist Development Program, Lavrov made his company debut in 2013 as the Herald in Verdi’s Otello and has since appeared as Dr. Malatesta in Donizetti’s Don Pasquale, Schaunard in Puccini’s La Bohème, Count Dominik in Strauss’ Arabella, the Huntsman in Dvořák’s Rusalka, and Yamadori in Puccini’s Madama Butterfly. The performances of Cavalleria Rusticana/Pagliacci are conducted by Nicola Luisotti and star Roberto Alagna, Ekaterina Semenchuk, George Gagnidze, Željko Lučić, and Aleksandra Kurzak. Remaining performances are on January 17, 20 (matinee), 25 and 29, and February 1, 2018.

Friday Photo


Westminster Abbey
May, 2014

Thursday, January 11, 2018

Il Trovatore Cast Change, Met

Received from the Met:
Jennifer Rowley will sing the role of Leonora in all performances of the Met’s production of Verdi’s Il Trovatore opening January 22, replacing the originally scheduled Maria Agresta, who is ill. Rowley has previously sung the role of Leonora with Théâtre de Caen, Théâtres de la Ville de Luxembourg, and Opéra de Lille. She made her Met debut as Musetta in Puccini’s La Bohème in 2014, and last year received critical acclaim making her role debut at short notice as Roxane in Alfano’s Cyrano de BergeracTomorrow night she is scheduled to sing the title role in the Met’s new production of Puccini’s Tosca, a part she has also sung with New Orleans Opera and Dresden’s Sächsische Staatsoper. Her other performances include the title role in Barber’sVanessa with Toledo Opera and as Musetta in La Bohème at the Royal Opera, Covent Garden. Sir David McVicar’s production of Il Trovatore, led by Marco Armiliatowill also feature Yonghoon Lee as Manrico, and Anita Rachvelishvili as Azucena. Quinn Kelsey and Luca Salsi will share the role of Count di Luna, with Štefan Kocán and Kwangchul Youn both singing the role of Ferrando. For one performance on February 6, Dolora Zajick will sing the role of Azucena.
 Performances of Il Trovatore at the Met are on January 22, 26, 30, Feb 3 (matinee), 6, 9, 12 and 15, 2018.
Maria Agresta withdrew from SFO Turandot performances in September, 2017 owing to illness. Hoping this isn't one serious illness.

Wednesday, January 10, 2018

And the Harder to Evaluate (2017 in Review)

I inadvertently omitted a couple of items about last year: West Edge Opera's overall season and San Francisco Opera's summer offerings.

For the last few years, West Edge Opera has generally had snappily performed, entertainingly directed operas during its summer season. This past year was an odd one: Thomas's Hamlet, Martin y Soler's The Chastity Tree, and Larsen's Frankenstein.

I've already commented that Frankenstein was a well-performed train wreck; in general, composers should not write their own librettos, unless they happen to be named Wagner, Berlioz, Berg, and sometimes Adamo. Larsen's literary abilities are not in that class. She is a fine composer, as I know because I have heard some of her other music. But usually it's a good idea to hire a pro to write your libretto. (ARE YOU LISTENING TO ME JOHN ADAMS????)

As for Hamlet, it has some good music and some good opportunities for scenery chewing. The staging was pretty good. The singing was outstanding: Edward Nelson as Hamlet, Emma McNairy as Ophelia, Susanne Mentzer as Gertrude, and Philip Skinner as Claudius. But unlike other reviewers, I just could not get to the mental point of regarding the opera as anything other than a crappy version of the Shakespeare play.

The Chastity Tree is a great rarity and a work of a type that really should be heard more: a good opera by a barely-known, but successful, contemporary of Mozart's. You need context to tell why the greats are great! The performance was great fun, the music sparkling, the performers lovely (and weirdly dressed).

Summer at SFO was...not what I'd hoped for. Rigoletto, with the fabulous Michael Yeargen sets making yet another appearance, was supposedly revised in some way from previous bring ups, but darned if I could see how. Nicola Luisotti was in good form; Quinn Kelsey was a terrific jester, Pene Pati, with a lovely voice, has not quite got his own style yet, and Nino Machaidze, making her debut at SFO, was weak. She's not a bad singer by any means, but largely because of her vocal character - dark, mature, perhaps a little too vibrant - she was not remotely convincing as Rigoletto's innocent young daughter.

I've already written about La Bohemenothing to add, though i will restate that it was an undistinguished bring-up.

And oh, that Don Giovanni: where on earth did the production come from? It was just ghastly looking; a nearly blank stage with mirrors going up and down behind the singers, and the occasional property showing up to sort-of-define the space as something particular. And because the "international version" was used, everybody got every last one of their arias, and the effect was of a badly-staged opera seria, with singers coming on, singing for ten minutes, and wandering off. There was little sign of direction.

The singing was pretty good, though....I thought Ana Maria Martinez miscast and Stanislas de Barbeyrac okay, not great. There were complaints about Erin Wall's audibility, but I could hear her just fine in Balcony Circle. Best of all was really Marc Minkowski's sharply brisk conducting. I hope he'll be back.