Tuesday, February 09, 2016

Met Council Finals Mid Atlantic Region



Sunday's Met Council Mid-Atlantic finals were dominated by a group of exceptional bass/baritones, with all but one of those competing walking away with a prize. In an afternoon brimming with talent, the low voices set themselves apart with polished, distinctive voices, and natural dramatic flair.

Anthony Schneider, a first place winner who will continue on to semifinals in New York, brings to the table a unique, resonant sound, well represented in Il lacerato spirito from Simon Boccanegra, and demonstrated agility and personality in "Quand la flamme de l'amour" from Bizet's La Jolie Fille de Perth. His co-first place finalist, tenor Jonas Hacker, first offered Una Furtiva Lagrima, demonstrating formidable control in a series of impeccably executed dynamic effects, though his voice lacked that final touch of warmth needed for this music. The judges wisely chose "Here I stand" from Rake's Progress as a second aria, and there were no qualifications here--Hacker's incisive power and facility with text seems a natural fit for exciting Britten and other 20th century fare.

Second place went to bass Timothy Bruno, a current young WNO young artist this season, who has participated in the various young artist-staffed new work presentations. Bruno's pitch-black sound is distinctive for sure, though it was a perhaps a heavier color than one wants in his first aria, "Solche hergelaufne Laffen" from Mozart's Entfuhrung. Another round of Boccanegra fared better, with Bruno producing a very exciting second helping of "Il lacerato spirito."

Third place was also a tie. Baritone Andrew Lovato was perhaps my personal favorite among the considerable bass-baritone talent on display. "Ya va Lyublyu" from Pique Dame was devastating, Lovato carefully shading his voice to great effect throughout the work. The Tanzlied from Die Tote Stadt was a fun second choice, and a great chance to show off the capabilities of perhaps the most refined low-voice onstage, though it would have benefited from more subtlety.

He shared honors with baritone Armando Pina, who turned in a winning, if slightly generic, sound. His lead-off "Ya vas lyublyu" couldn't quite compete with the detailed pathos of Lovato's account but was nonetheless an impressive assumption. "Hai gia vinta la causa" was similarly sturdy.

Mezzo Briana Hunter was perhaps a surprising omission from the winners circle. In "Elle et la, pres de lui" from Thomas' Mignon, she showed off an ample, compelling sound, only marred by a bit of inconsistency in the high notes, some of which sounded great, while others felt a tad uncomfortable. Her follow-up, "Una voce poco fa," represented the most accomplished coloratura singing of the afternoon, and demonstrated a winning stage personality. Soprano Raquel Gonzalez also stood out among the women, with a sophisticated, smoky sound in "Come in quest'ora bruna" and "Stridono lassu" from Pagilacci.

Thursday, February 04, 2016

NSO plays Brahms, etc.



A few belated words on the NSO show last Saturday. This was the second of two weekends led by Eschenbach, his first appearances since the announcement that Gianandrea Noseda will succeed him at the NSO's helm. The program featured the second group of works that the NSO will take on tour to Europe this month--the overture to Der Freischutz, Schubert's Symphony No. 8, and Brahms First Symphony.

Anne Midgette rightly questions what the deal is with going all the way to Europe to play a bunch of Central European Top 40 hitz to the locals. Except for a contemporary work by Christopher Rouse this is the reddest of red meat programming. Do European promoters expect American orchestras to prove they can hack it? Sort of the opposite of how we expect Czech orchestras and conductors do the Prague Symphony and Dvorak all the time?

Anyhow, the first half Schubert and Weber were fine, but I was in it for the Brahms. Eschenbach came out swinging, highly attuned to the rollicking push and pull of the first movement and its restless lurching between meters. This was full blooded but tightly controlled Brahms that wasn't shy about playing up the fundamentally unpleasant nature of Brahms' first official statement in symphonic form. The second movement, with its balance of repression and release, benefits from a slow burn and holding something back, but Eschenbach took the bait and went back to the generic emotional swell too often. Things went downright haywire in the final bars which slow to a point of stasis, such that Nurit Bar-Josef's violin solo seemed oddly rushed and cursory, perhaps a tempo miscommunication issue? The allegretto was fairly scattered as well, with shifts in tempi that had the orchestra stumbling over itself at times. Thankfully Eschenbach was back in form for the closing movement, and led a truly exhilarating rush to the finale.

It sounds like Friday's run was much tighter, so perhaps an off-night or just trying some stuff here before heading out on the road...


Wednesday, February 03, 2016

David Daniels Sings Brahms, Hahn, and Purcell

I wrote about David Daniels recital for Vocal Arts DC last weekend for Parterre:
Washingtonians enjoyed a happy reunion this past Sunday with David Daniels, a lucky substitution for the originally scheduled Alexander Tsymbalyuk on the Vocal Arts DC calendar. Daniels isn’t exactly a regular on DC stages—he last graced the opera house in 2008 opposite Placido Domingo in Handel’s Tamerlano (a rare Baroque foray for WNO)—but contributing to Ruth Bader Ginsburg lore will get you everywhere with this crowd.   
Read the whole thing here...

Wednesday, January 27, 2016

Met On Demand: Damnation of Faust



First time I had seen this production, which I narrowly missed in house back in 2008. Robert LePage's video driven production of Berlioz' oratorio was a big hit at the time, soon to be remembered as the "good" LePage production after opinion polarized over the first installment of his Ring. (Though Tommasini dropped some good shade at the time: "To judge from the rousing ovation Mr. Lepage received, this innovative production looks to be a popular success...")

No doubt this is a more effective, immersive use of video than the subsequent Ring productions, which suffered from the fundamentally off-putting Machine set and a mismatch with the pace and dramatic constraints of the Ring. Berlioz' fantastical meditation on the Faust myth, never intended for the stage, makes much more sense as a purely sensual experience, and a perfect fit for the possibilities of LePage's visual approach.

All that said, and admitting the difficulty of judging this kind of production on video, I was surprised at how frequently I found myself blaming the effects for the difficulty the work had grounding itself and gathering any momentum. While succeeding with a more unified aesthetic approach to the video aspects, LePage hasn't figured out what makes dramatic sense here any better than the Ring. Too often the production drives you to distraction rather than enhancing your experience of Berlioz' work.

The work is a feast for orchestra and chorus, and the Met's crack forces, led by Levine, make this a memorable production even before the soloists are taken into account. Love the hell chorus section where the civilians of the Met chorus, no buff supernumeraries in sight, have to take off their shirts and sing about demons with mean looks on their faces for (what feels like) 20 minutes. Great chorus work and a weirdly unsettling piece of stagecraft.

Giordani sounds great in Faust's music, delivering the delightfully predictable old school vocal swagger that gets him the big bucks, though his acting chops are a shade blander than his colleagues when subjected to closeup HD. He keeps it together for most of the show, though when the going gets more strenuous he noticeably straddles the line between effortful-but-legit and wait-I-don't-think-this-sounds-good-anymore territory.

This is a sweet-spot role for Graham and she proves again why she is the consummate Live in HD professional, sounding great and hitting all her marks as Marguerite (note how long she holds her beatific face as she has to climb a ladder all the way to the rafters facing camera at the end). "Professional" of course can cut two ways, and if you have trouble getting excited about her, this will not change your mind.

John Relyea, still the man to beat when it comes to 19th century devil characters, frequently threatens to steal the show with his codpiece and the unflagging silky-manly sound he serves up for Berlioz' Mephistopheles.


Friday, January 22, 2016

Musicians from Marlboro play Beethoven, Penderecki and Brahms


Cover of first edition of Brahms piano quintet, with four hand piano arrangement.

Amidst some nasty pre-snowmageddon precipitation, musicians from the Marlboro Festival served up the first of their two off-season tour shows at the Library of Congress Wednesday evening, injecting a bit of that gentle Vermont summer into crappy mid-Atlantic January.

Having made it to Marlboro the last two summers, I will disclose that I have fully drunk whatever the audience version of the Marlboro Kool-aid is. Whether it is the time that participants are able to lavish on a single work, the sense of camraderie, or the bucolic setting, there is something very special about Marlboro performances (obligatory link to Alex Ross' article from a few years back). Time and again one finds a depth in precision, blend, and articulation that ensures these performances are never boring, and it is enough to keep audiences (and musicians) traveling back to the country to get another hit of that sweet sweet chamber music drug. Happily, the stuff they export shares many of these winning qualities, too.

Beethoven's String Trio in C-minor, op. 9, featured the gorgeous blend of violinist David McCarroll, violist Daniel Kim, and cellist Marcy Rosen, in a reading both aurally decadent and musically engrossing. The first half also included Kryzysztof Penderecki's 1993 quartet for clarinet and string trio, adding the violin of Emilie-Anne Gendron, and Anthony McGill, principal clarinet of the New York Philharmonic. This fascinating piece covers huge thematic and emotional ground in its brief running time, and the quartet brought out moments of tremendous beauty (Gendron's solo in the closing Larghetto) as well as controlled frenzy in the second movement.

The second half featured a bit of unabashed luxury programming in Brahms' late Clarinet Quintet, famously composed near the end of his life after he had considered giving up composing. His collaboration with the clarinettist Richard Muhlfeld stayed his retirement and produced some of the most beloved works in his entire output and enduring pinnacles of the literature for the instrument. I will also note that this past summer in Vermont, I heard Rosen lead a performance of the Brahms String Quintet in F Major that immediately ranked in my top Brahms encounters of all time, so needless to say, this was an exciting prospect.

The Marlboro crew turned in a furious first movement, reaching for blistering fortes that immediately belied the "autumnal" modifier usually applied to this work. If things got a bit aggressive at times (and McGill occasionally seemed overextended trying to compete with the strings), the choice made sense in the striking contrasts with those moments where the movement slows to catch its breath. The Adagio offers the most intimate and individual writing for the clarinet, and McGill provided a solo of overwhelming beauty and quiet touches of personality. The interplay here between solo and strings, the epic push and pull of emotional tension, all unfolded with irresistible vitality. After a gentle Andantino, the group delivered a moving closing Con Moto, by turns yearning and ambivalent, a palpable chill descending with the arrival of the final dark figures in the strings.

Monday, January 18, 2016

NSO plays Eller, Prokofiev, and Sibelius


Esteemed Estonian conductor Neeme Jarvi took the NSO's helm this past weekend in the first subscription concert since the announcement of music director designate Gianandrea Noseda (and the bittersweet end of conductor roulette). Thursday's show opened with "Five Short Pieces for Orchestra" an attractive mid-century work by Heino Eller, an Estonian composer championed by Jarvi, which offered a compelling showcase for the NSO strings.

The highlight of the evening was Prokofiev's first Violin Concerto, featuring a mesmerizing performance by Latvian violinist Baiba Skride. Skride and Jarvi created fine tension in a restrained, inward facing first movement, bringing the audience in close to catch the hushed solo. Skride then abruptly shifted gears for the raucous second movement, skillfully highlighting Prokofiev's biting sarcasm and giving free rein to harsh earthy sounds in the blistering passage work. When the third movement finally turns to indulgence, Skride delivered a pure, beguiling sound for the doomed cocktail music of the finale.

After the half, Jarvi opened with a raw reading of the first movement of Sibelius' Symphony #2, heightening the contrasts between the scattered motivic fragments that run into and over each other and eliciting some especially fine piano dynamics from the orchestra. A heavy hand in the grim second movement was perhaps too much at times, and the plodding tempo might have been partially responsible for some muddy sounds in the brass. Thankfully things snapped back into place for a precise scherzo and exquisite solos for oboe and clarinet, capped with an appropriately irresistible climax leading into the Finale. Here and there transitions felt overly generic and on-the-nose, but overall Jarvi brought the work to an exhilarating close.

Wednesday, January 13, 2016

Better Gods at WNO

I wrote about WNO's new hour long work Better Gods for Parterre:
The arrival of winter in DC heralds a long fallow period for Washington National Opera’s mainstage offerings, as the Opera House is turned over to the Kennedy Center Honors and extended sit downs for traveling musicals. But WNO is staying busy, and while Aretha Franklin and Matilda cavort downstairs, the company continues to present new work up in the Terrace Theatre under its American Opera Initiative banner.
Read the whole thing here...

Sunday, December 06, 2015

NSO plays Adams, Barber, Copland, etc.

Caught an eclectic program of American composers from the NSO Saturday, led by the American conductor Sarah Hicks. John Adams' "The Chairman Dances," which predates Nixon in China but points to many of the familiar themes from the opera's third act, made for a strong opening. If the strings sounded frayed at times Hicks and the NSO captured the propulsive momentum and whiplash shifts that make the work tick.

Organist Cameron Carpenter then joined the band for Samuel Barber's towering 1960 Toccata Festiva. Carpenter's solo captivated in both the sensitive moments as well as the bravura pedal playing, accented by rhinestone-heeled organ boots. Carpenter wrapped up with an improvisation on Americana themes plus an encore improvisation incorporating the Beatles' Imagine tune. If the overall impression was slight, Carpenter kept things concise and its no small thrill to watch him work the stops.

The second half opened with a fine showpiece for orchestra, the rarely heard 1954 Danse Overture of Italian-American composer Paul Creston, teamed nicely with an ebullient reading of Copland's 1938 suite from his ballet Billy the Kid.

In between, we got a new work by Mason Bates, now Kennedy Center composer in residence, which melds orchestra music with...techno beatz. I can certainly appreciate why this sort of thing is catnip to the people tasked with writing sexy press releases about the orchestra but in practice it is pretty dreadful. I'd rather not go full curmudgeon on this, but everything from the amplification to the overbearing sense of trying too hard was deafening. This stuff kind of appeals in the way a hip movie soundtrack does, but as compelling concert music? Noap. Misfires aside, NSO deserves significant credit for the thoughtful programming...

Friday, December 04, 2015

American Opera Initiative at WNO

I wrote about the WNO's evening of new works for Parterre...
Washington National Opera presented the fourth annual installment of its “American Opera Initiative” series in the Kennedy Center Terrace Theater Wednesday evening, a welcome opportunity to sample new work in appealing bite-sized chunks.  
Read the whole thing here...and here's coverage from Charles Downey and Anne Midgette.

Monday, November 16, 2015

Appomattox at WNO

I wrote about the new production of Phillip Glass's Appomattox at WNO for Parterre Box:
Saturday’s Washington National Opera premiere of a new version of Philip Glass and Christopher Hampton’s opera Appomattox had everything going for it: the long-overdue appearance of the work of America’s greatest living opera composer on a Kennedy Center stage, timely and important subject matter tied to recent historical milestones, even a sexy policy hook (that’s a thing). Everything, as they say, but the opera... 

Read the whole thing here.


Thursday, November 05, 2015

Bach Collegium Japan at LOC

Got to see Bach Collegium Japan for the first time at the Library of Congress last night, in a seemingly rare DC appearance. There's a certain electricity generated by the major league period bands, an expectation that you're going to hear something entirely new that you're unlikely to hear again, and Masaaki Suzuki and his forces delivered in memorable fashion in a program of Bach, Vivaldi and Handel.

The Collegium anchored the evening with Brandenburg Concerto No. 2, an exciting taste of the period brass and wind delights to come. The highlight here was trumpeter Guy Ferber playing a coiled baroque trumpet that cooperated only intermittently, but when it did produced a unique gentle tone that blended beautifully with the buzzy, cacophonous sound of the band. Idle googling of baroque trumpets this morning (as one does) turned up this Nikolaus Harnoncourt quote which sums up the appeal quite nicely: "Bach wrote a concerto [2nd Brandenburg] for four different but equal instruments: trumpet, recorder, oboe, violin. The art was to create a dialogue among these four instruments, and this is obviously only possible when the trumpet plays as softly as the recorder and the recorder as loud as the trumpet."

The meat of the program was dominated by two Vivaldi concertos for solo winds. The first, the Concerto in C major for recorder, strings and continuo (RV 443) featured what can only be described as a completely gonzo recorder solo played by Andreas Bohlen that inspired a raucous mid-half standing ovation. The second, the Oboe Concerto in C major (RV 450), presented Masamitsu San'nomiya in a dizzy, elegant oboe solo that showcased the great expressive possibilities of the instrument. Rounding out the wind offerings, was something a bit less flashy, Bach's Sonata for flute in E minor (BWV 1034), with soloist Kiyomi Suga on the traverso flute. The mellow sound of the wooden flute was welcome for a non-flute enthusiast and Suga delivered long, sighing phrases in the third movement.

After the Branderburg, the Collegium's biggest forces were assembled for two works with soprano Joanna Lunn. The second, Bach cantata "Jauchzet Gott in allen Landen!" (BWV 51) was the biggest attraction, featuring Ferber on spinning out long trills on another baroque trumpet, and a series of energetic tempi. The first, a recently discovered and disputed setting of the Gloria attributed to Handel, wasn't terribly distinctive but included some sparkling passagework. Lunn had her work cut out for her in carrying these pieces and did yeoman's work throughout, though hampered a bit by that soprano volume knob thing--a bright, very loud (though nice sounding!) top that jarringly alternated with a more anemic middle register.

Kissin plays Beethoven, Brahms, Albeniz

I procrastinated writing about that nice Kissin recital last week, so I'm afraid he gets the bullet point treatment:
  • Not really sure what I'm looking for from Mozart in recital these days but Kissin's opener, the Piano Sonata No. 10, didn't quite have it. At times it feels like Mozart is not a great fit for Kissin's gifts, as if he is working over time to inject character into the piece, only really connecting where the Sonata takes a darker, more expansive tone.
  • The Appassionata was monumental, staggering--a rendition to easily best any in recent memory and people program it a whole lot in DC. Kissin doesn't just want to give you an exciting take, he wants you to hear the symphony orchestra thrashing around in the piano as Beethoven surely heard it, and he has the technical gifts and commitment to deliver.
  • Was very glad to see three Brahms Intermezzi programmed (Op. 117), which found Kissin in a somewhat subdued mode after intermission. The first was maybe a bit ponderous, but he found wonderful colors in the second and third rounding out the set.
  • The real revelation in the second half were four pieces of Isaac Albeniz. Perhaps not repertoire we're used to hearing from him but they were handled beautifully, Kissin bringing out gorgeous singing melodies while imbuing even smaller details, like the rippling water figure in the first piece, with trademark polish.
  • The first two encores offered more opportunities to hear his skills with Spanish composers in two pieces of Granados, plus a suitably rousing Brahms' Hungarian dance No. 1.
The DC crowd tried their best to eke out a 4th encore, but we'll have to wait until 2018 for our next chance to hear him. Very tempted now to make good on my plans to catch that program of Hebrew poetry and composers from last year that he is repeating at Carnegie in December...

Wednesday, October 21, 2015

Lucia di Lammermoor at SFO

Unexpectedly found myself in San Francisco last Friday and caught the current Lucia production from standing room at the War Memorial Opera House, which FWIW, is quite pleasant. The standing section may not have the velvet armrests of the Met, but it's only one row deep, and each side has its own little dedicated supertitle screen. It's also far preferable to paying hefty sums for the back of the distant War Memorial OH balcony and enduring the indignity of those jumbo-trons.

Nadine Sierra, the young American soprano filling in for Diana Damrau in this production (though they are still handing out Damrau flyers in the lobby...totally awkward, guys) certainly proved she can hold her own in this demanding role. Its a very pretty, pure sound with the right delicacy needed for Lucia and the coloratura moments, especially the mad scene, were all very solid and appropriately intoxicating. If today she perhaps lacks that extra bit of panache/swagger that makes for a really memorable assumption, she has quite the formidable foundation to build on and deepen in the role. She also felt a bit under-powered in the ensembles, grasping a bit for a sustained line to cut through the thick of the orchestra and the rest of the crowd, though she apparently had some indisposedness going on that evening, which may have contributed.

Piotr Beczala's Edgardo was a welcome chance to hear him, though it was hard not to feel at times that he was shoehorning the very wonderful things he does into a role that doesn't quite fit. While his golden middle range always seduces, he tends to run out of ping at the top--hardly a dealbreaker in Verdi or something, but that flood of bel canto dopamine that doesn't require too much thinking is kind of the whole deal with Edgardo. Beczala also has a tendency to phrase with a sort of impatient declamation, which, at the volume he can deliver, is certainly very exciting. So exciting one forgets sometimes that you're missing the long-lined phrasing needed in this music.

Perhaps the strongest link in a pretty strong cast was the Enrico of Brian Mulligan, which shouldn't have been a surprise for me at all, since apparently I enjoyed him in the same part at WNO just a few years ago. Well, mea culpa for not getting it at the time, but Mulligan's sound is incredibly special, a rich, resonant baritone that tackles the expressiveness and the legato of the role as though no one's told him he isn't a tenor. Please come back to WNO soon we promise we won't take you for granted this time. Of the rest of the principals, Nicolas Teste's commanding Raimondo also deserves a shout out.

Appreciated the chance to get to hear Luisotti conduct, who had a great idiomatic feel for the catchy little figures that pepper the score. The production was...fine. Basically one of those why-even-bother updatings that could have easily time-traveled from NYCO circa 2002 (minus the slick video-projections). Its chief effect was to make me feel better that SFO is just as good at turning out a nondescript stinker as the local team (my last SFO visit was for that gorgeously stylish Mattila Makropolous production). Random points--fun "in the near future" gowns in the wedding party crowd scene; drawing in the stage side panels to "frame" Lucia's Act 1 garden scene arias felt like watching it being filmed on your iphone held the wrong way; and, if Scotland degenerates into some kind of clan-based fascism in "the near future" are they really going to do a National Socialism throwback thing? Really? Whatever. Like I said, fine.




Tuesday, October 06, 2015

Rienzi with the National Philharmonic

I was hoping the National Philharmonic's presentation of Wagner's Rienzi this past Saturday would have signaled the end of my Rienzi virginity, but due to circumstances beyond my control I was only able to see the second half. Add to this the fact that the deeply (and wisely) cut score for this concert staging basically constituted a highlights show, and, well, I think I can only claim second base.

Rienzi is perhaps best understood as what would happen if you took Tannhauser and subjected it to the Hollywood producers that give notes on stuff like Fast and Furious 7. There are really a huge variety of interesting musical ideas, and lots of delightfully recognizable Wagnerisms, but any breathing room in the drama has been rigorously excised in favor of nonstop grand opera thrill ride action, an event-heavy plot, and stock characters that leave little to the imagination.

But music certainly worth hearing, especially with the compelling forces marshaled by National Philharmonic chief Piotr Gajewski. The big draw of the evening was Issachah Savage in the title role, who I think its fair to call a DMV favorite, but has also recently appeared in things like the Goerke Toronto Walkures last year. His big irresistible tenor fits beautifully in the Lohengrin/Walther/etc Wagner parts, with enough heft to impress but still sweet and ringing throughout. Rienzi's big 11 o'clock number in the Fifth Act, which recalls the familiar motif of the overture was a gorgeous showcase for his sound and was met with appropriately thunderous applause. Here's his Mein Lieber Schwan. Oh and a little big of his great sounding Bacchus here. You know you want more.

Also notable were Rienzi's ladies--Mary Ann Stewart gave a passionate account of heldentrouseren role Adriano, while Eudora Brown impressed as Rienzi's sister, Irene. They cut that slightly creepy "Shades of Walsungen" scene in the Fifth Act with Rienzi (again, wisely), so by missing the first half I probably missed a lot of the Irene stuff that remained, but thankfully got to hear her soaring contributions in the latter half ensembles. Gajewski led a rollicking account from the Philharmonic and assembled choral forces, delivering what can only be called a crowd-pleaser--something I'll wager Rienzi is not often accused of.

Saturday, September 26, 2015

Turandot at the Met



Zerbinetta makes a pretty good case for adding Franco Zefferelli's Turandot production to the list of petty crimes against humanity (say, above Tevas and socks but after the first Transformers movie). And while she's not wrong, it's also important to note that this production is a totally gonzo yet honest version of the opera Puccini and librettists Adami and Simoni created, imbued with all the cross-cultural thoughtfulness 1924 had to offer.

Now that we're all on the same page, here's what I don't want to see when the Met someday takes this production to a field far away from flammable structures and burns it down: some neutral, de-contextualized Turandot that tries to boil it down to the "timeless human story" at its core. I will accept Turandots that try to deconstruct the snot out of the material, and I will accept Turandots that swim around in a 1920s fever dream of the Orient like Scrooge McDuck in his money pit. But I will not accept a Turandot that tries to divorce the material from its cultural trappings.

Look, this isn't some hard and fast decision rule for all Europeans clumsily dramatizing other cultures. Something like Butterfly has its problematic material that any director needs to confront when producing it 100 years later, but there really is a winning argument to be made about why its characters are timeless human portraits that transcend their context. Our appreciation for Turandot comes in spite of the fact that it would be easy dustbin of history material if not for its very considerable musical interest. Modern productions shouldn't get to punt on that.



So, the big draw of this first Turandot tranche (the complete run is being shared with Stemme and Lindstrom as well, plus a bonus Jennifer Wilson evening), was a role debut for our beloved Christine Goerke, following up on her celebrated Dyer's Wives at the Met two years ago and subsequent triumphs in Wagner and Strauss in various North American locales. After a little warm-up cautiousness, Goerke hit her stride and that unique, softly rounded sound poured forth, making for a stunningly warm and musical reading of a part that naturally leans to the strident and brittle. The vocal awe her Turandot inspires owes less to shock and more to how she is able to use that full voice and incredible stamina to keep the musical momentum alive. If there's a tradeoff, it's that she doesn't quite have that terrifying top most people prioritize in their Turandots. Her high note approaches were tentative at times, the results tended to decrease in volume, and felt a bit strained relative to the freedom that characterized the rest of her range. Goerke's second Act scene was suitably authoritative but her third Act capitulation to Calaf's advances was the most compelling, a welcome little touch of humanity amidst all the frantic shenanigans filling the stage. That exchange, sort of a trashy version of the end of Siegfried where you don't care what happens to anyone, got me thinking about sneaking to Houston for an early look at her Brunnhilde #2.

Marcelo Alvarez is one of those singers that gives one a feeling of solidarity; almost of continuity with the past--say, 1985. One likes to imagine walking into some stodgy, big ol' Met revival of a warhorse on any given Wednesday in the 80s of yore and hearing the kind of big, crowd pleasing singing that is a maybe a bit less distinctive than the guys at the top but undeniably satisfying. Yeah, Alvarez' Calaf is basically always shouting and churns out his music in little overexcited phrases, but damn its a great sound, and listening to that big voice tumble through the throngs of chorus and orchestra over and over again just doesn't get old.

Russian soprano Hibla Gerzmava was a powerful, passionate Liu, though I'm afraid Liu probably gets the shortest shrift of any character in this production, drama wise. James Morris is still kicking it, bringing some extra polish and pathos to Timur here with his patented Dadsing techniques. Great work as well from the Ping/Pang/Pong trio.

Finally, Paolo Carignani presided over a reading in the pit that exemplified the best kind of controlled chaos possible with that big unruly band. He may have benefited a bit in comparison with the shaggy Carmen last weekend, but his chops and sheer "rightness" of his feel for the music shone through in chorus after challenging chorus whipped into a precise frenzy.

Monday, September 21, 2015

Not Dead Yet/Carmen at WNO

It has been a while I know, but rest assured I have been making all the usual new season resolutions to do a better job of not neglecting this space. And as an added motivation to get back in the game, I was very graciously invited to review the WNO's season opener Carmen over at Parterre Box!

I’ve found myself at a number of Carmen productions over the last 18 months (a Jonas Kaufmann-less Saturday matinee at the Met last spring, a Wolf Trap young artist production, and, most recently, a minimal chorus-less outing in Atlantic City which turned on an affair between Carmen and Micaela), and besides putting me over the annual advisable quota for any particular warhorse, it has given me some time to ponder the current state of the Carmen enterprise...

Check out the rest here!