Opera Warhorses

The year 2013 is the 200th anniversary of the birth of the great Italian opera composer Giuseppe Verdi (as well as the bicentennial of the great German opera composer Richard Wagner). Opera companies throughout the world are creating new productions or brushing off their older productions of Verdi and Wagner operas.

I have argued for categorizing the operas  that Verdi wrote in the two decades bracketed by 1851 and 1871 separately from his earlier works.Verdi’s pre-1851 canon of works are wonderful, and share some important and felicitous similarities with the great but prematurely deceased Italian opera composer Gaetano Donizetti.

I have already testified on behalf of the American performances of some of these operas (see Donizetti and Early Verdi in the American West, January-June, 2012). Shortly, I will update the Donizetti-Early Verdi lists (which already herald the upcoming “Attila” in June at San Francisco Opera) with new suggestions.

But the great Verdian operas in the period between his “Rigoletto” and his “Aida” are among the greatest treasures of the operatic repertory. I have already reported on Placido Domingo’s arresting portrait in the title role of “Simon Boccanegra” (see Legend Making at Los Angeles Opera – Placido Domingo, James Conlon Lead Star-Studded “Simon Boccanegra”, February 11, 2012) and on Chicago’s esteemed NIcolas Joel production of “Aida” (see An Admirable “Aida”: Hui He, Berti, Smirnova, Kelsey Are Impressive – Lyric Opera of Chicago, March 15, 2012.)

Although it is not intended as an exhaustive list of opportunities that North Americans will have to attend live performances of the major “Middle Verdi” works, I have listed suggestions in New York, Texas, Ohio and California. Each of these performances are offering casts, stage directors and/or conductors that have received my praise in my previous reviews on this website.

It is my intention to try to get to and to review one or more of each of the “Middle Verdi” operas productions listed below.

Don Carlos (Verdi), Houston Grand Opera, April 13, 15(m), 19, 22(m) and 28.

Houston Grand Opera imports the Welsh National Opera’s 2005 production, which presented the French version of Verdi’s masterpiece, in as complete a version as one could possibly expect. The production, directed by John Caird in what was his first ever operatic production, has sets by Johan Engels.

[Below: A scene from the 2005 performances at the Welsh National Opera; resized image of Bill Cooper photograph for the Welsh National Opera.]

Conducted by Patrick Summers, the opera stars Brandon Jovanovich in the title role with Tamara Wilson as Elisabeth and Christine Goerke as Princess Eboli. Two veterans of the 2005 new production at Welsh National Opera,  Andrea Silvestrelli (King Philip) and Scott Hendricks (Rodrigue) are repeating their roles.

[For my performance review, see:  Brandon Jovanovich Triumphant in Historic “Don Carlos” Production – Houston Grand Opera, April 13, 2012.]

Aida (Verdi), Glimmerglass Festival, July 7, 13, 15(m), 23(m), 27, August 4, 9, 11(m), 14(m), 17 and 25.

Glimmerglass Festival Director Francesca Zambello will personally direct a new production of “Aida” in which she focuses on the intimate relationships of the four principals. The Aida will be Michelle Johnson, who was a 2011 prizewinner of the Metropolitan Opera National Council Grand Finals. Her father Amonasro will be Eric Owens, Glimmerglass’ 2012 artist in residence.

[Below: Michelle Johnson is to be the Aida; resized image, based on a photograph from the Academy of Vocal Artists, Philadelphia]

Two former San Francisco Opera Adler Fellows, Noah Stewart and Davenas Karenas, are respectively the Radames and Amneris. Nader Abbassi is the conductor. The sets are by Lee Savage, the costumes by Bibhu Mohapatra.

La Traviata (Verdi), Cincinnati Opera, July 26 and 28, 2012.

Three favorites of this website, soprano Ailyn Perez (Violetta), tenor Stephen Costello (Alfredo) and stage director Jose Maria Condemi are teamed in Cincinnati in a performance conducted by Carlo Montanaro, whose “Attila” at Seattle Opera I praised earlier this year.

[Below: Alfredo (Stephen Costello, left) reveals his love to Violetta (Ailyn Perez, right); edited image, based on a Neil Gillespie photograph for the Royal Opera House, Covent Garden.]

The sets are by the famed Desmond Heeley, whose three Tony awards and Bronze Award from the United Kingdom’s Stratford-upon-Avon Festival are measures of his artistic accomplishments.

Rigoletto (Verdi) September 7, 8, 11, 12, 15, 16(m), 18, 19, 21, 23(m), 25 and 30(m).

Although Verdi wrote worthy operas and had spectacular hits prior to this blockbuster, his reputation was sealed and his status in the history of opera transformed by “Rigoletto”. San Francisco Opera has chosen it for its season opener. In a departure from San Francisco Opera tradition, the opera is double-cast, each with formidable protagonists.

Zeljko Lucic and Marco Vratogna alternate in the title role. Coloratura sopranos Aleksandra Kurzak and Albina Shagimuratova share the role of Gilda, Francesco De Muro and David Lomeli the role of the Duca di Mantua. Kendall Gladen and Andrea Silvestrelli are respectively Maddalena and Sparafucile in all performances.

The brilliant conductor Nicola Luisotti is responsible for all of the performances except for the final two, when his colleague Giuseppe Finzi takes the podium.

[Below: Michael Yeargan's sets for San Francisco Opera's production of "Rigoletto"; resized image of a San Francisco Opera photograph.]

Once again, Michael Yeargan’s 1997 production is on display.

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Wm: Although I work with the press offices of all of the opera companies whose performances I review, and in the arrangement of interviews with particular artists, I have never posted an interview with an opera company press officer. As part of my occasional series on opera festivals, which includes reports on the Santa Fe and Glimmerglass Festivals, I thought I would interview a press officer who has been associated for many years with the Santa Fe Opera Company and their annual festivals. The following interview with Joyce Idema took place at the Cantina at the Santa Fe Opera ranch.

[Below: Santa Fe Opera's Joyce Idema; edited image, based on a photograph, courtesy of the Santa Fe Opera.]

Wm: You have experience working with performing arts organizations (including the Chicago Symphony Orchestra) in different parts of the country. What are the features of Santa Fe Opera that you would regard as unique to this organization?

JI: I was thinking about that question as I drove over here for the interview. What is unique about the Santa Fe Opera is that it was established by one man, John Crosby, who had a very clear vision of what an American opera company should be. Not only did John Crosby audaciously decide to start an opera company, but he chose a rather remote spot in country he loved – that being  Santa Fe, New Mexico.

[Below: Conductor John Crosby, founder of the Santa Fe Opera; edited image, based on an historical photograph, from the santafenewmexican.com.]

Wm: Describe that vision.

JI: Mr. Crosby wanted an opera company that would give American singers an opportunity to learn repertoire and sing major roles in their own country without having to go to Europe, which was a path that many had to take in the 50s to get the experience they wanted.

Mr. Crosby wanted to give young singers emerging from conservatories and music schools the opportunity to work and learn from seasoned singers.  This idea led to the Apprentice Program for Singers, the first in the country, and one that has been much emulated.  Apprentice singers form the choruses needed for the mainstage productions.  They also have voice lessons, coaching sessions, master classes, all designed to help prepare them for professional careers.  In some cases they perform small roles and serve as covers for principal artists.

Mr. Crosby envisioned an ensemble company, meaning that artists would be here as long as their operas ran. So, for the 2011 season performances of Gounod’s “Faust” and Puccini’s “La Boheme”, the artists are here for three months.  Those who are cast only in Berg’s “Wozzeck” with just five performances are here for a shorter period.

Wm: It’s remarkable that these principles remain in evidence five and a half decades after the company’s founding.

JI: I feel that the Santa Fe Opera is unique among arts organizations in that Crosby’s ideas remain intact. The reasons that led Mr. Crosby to initiate his operatic innovations remain relevant.

[Below: A view of the roofline of the Santa Fe Opera's John Crosby Theater; resized image, based on a Robert Reck photograph, courtesy of the Santa Fe Opera.]

Wm: The Santa Fe Opera is remarkable for its fiscal solvency.

JI: It has always been the Company’s philosophy that it would do what it could pay for and that still holds true.

Wm: John Crosby ran the company for fifty years. What do believe, besides establishing the guiding principles for the company, is his legacy.

JI: Mr. Crosby was not only a musical visionary, it was he who chose the site where the Company still performs. The current theater is the third since the first, in 1957, and in the exact same place.   In 1957 the location was described as being “in the middle of nowhere”. It still is!

It was an act of genius. Opera lovers still have to fly to Albuquerque, drive to Santa Fe, and drive again five miles to reach the theater!

You have to admit that there is no opera house with a setting quite like this, with a view of two mountain ranges, a vast mesa, breathtaking sunsets, thunderstorms, rainbows and starry nights.

Not only was John Crosby director for 50 years, his successors were both trained by him. The first, Richard Gaddes, who joined the Company in 1969, became General Director in 2000.  His successor, the current director, Charles MacKay has held the post since 2008.  Mr. MacKay saw his first opera here when he attended Youth Night.

Below: Santa Fe Opera General Director Charles MacKay; edited image, based on a Ken Howard photograph, courtesy of the Santa Fe Opera.]

Wm: Over the past three seasons, I’ve interviewed a dozen artists while they were performing here, all of whom remark that the Santa Fe Opera is unlike anything else they experience.

JI: Yes, there is a sense of family among the artists here. I know it’s a corny word, but many who perform here become friends. They exchange information about singing and repertory, and look forward to returning.

Wm: Santa Fe Opera has been famous for its dedication to new works, including commissions for new works with American artists in leading roles such as Morevac’s “The Letter” for Patricia Racette, and upcoming commissions for David Daniels and for Nathan Gunn.

JI: The emphasis on new works is another of those principles on which this opera company was founded.  There have been a dozen world premieres and commissions, and many American premieres as well.

Wm: What are some of the other features that make the Santa Fe Opera Festivals so unique?

JI: I think the interaction between the  City of Santa Fe and this Company is very special. I recently spoke to a reporter who had been horseback riding and learned that the riding instructor plays one of the security guards in Vivaldi’s “Griselda” this summer. Then they went to other places in town, where people mention that they’ve been in an opera or “my brother/sister works there.”

In the summer there are nearly 700 employees and many of them come from Santa Fe and the surrounding area.  It’s easy to get attached to this place.

Santa Fe residents and those traveling here know that they can hear operas and see productions they won’t get elsewhere. They look forward to the gorgeous and a lovely, informal dinner in the Dapples Pavilion before the opera and hear an informative 20 minute lecture by the popular opera expert, Desiree Mays.  It’s a wonderful experience.

Or, alternatively, ticket holders can attend the “prelude” talks at Stieren Hall, where  lecturers provide a preview of the evening’s opera.

Opera Titles is another way to make opera goers more comfortable. Translations in either English or Spanish appear on the back of every seat.

Another Santa Fe Opera opening night tradition for many patrons is to wear costumes themed to opera they are attending. Many women wore kimonos for Puccini’s “Madame Butterfly”. This year some of the men attending Gounod’s “Faust” were wearing top hats (with and without horns). Then at 8 p. m. the theater patio is opened and everyone is and invited  to have champagne. Opening nights  are popular, even legendary events.

Wm: As the festival’s press officer, you’ve have seen first hand the change in the media over the past decade.

JI: My title is press and public relations director.  My job is to make sure that what  the press/media receives is accurate and reflects the image of The Santa Fe Opera.

There are fewer newspapers now and fewer critics that have budgets to travel. The reputation of the Company and the productions we do are still compelling as ever before and critics are still coming. You know I’ve been in this business forever! and I have friendships with critics from everywhere.

Wm: Yet more of the classical music press is moving to the Internet.

JI: I think the first reaction among many among opera company press officers was one of suspicion. But websites grew in popularity, some with a few hundred readers, some with very large readerships. There are now many good websites for opera and classical music. It’s really important for us to keep track of them and to see that have information on what we are doing that would be relevant to them gets to them.

Wm: I suspect that’s a challenging task for a press officer.

JI: It used to be that a press officer had a stack of newspapers to thumb through and look for the reviews. One of my jobs is to to keep up with new websites, new publications,  telling them our story.  That’s only one of my challenges.  Social media is also important.

Wm: And interacting with the social media like Facebook, I suspect, is even trickier.

JI: Everybody is in the same boat as far as the social media sites are concerned. The challenge always is to find ways to attract new readers, and potentially new opera goers.  It’s never dull in the press office.

Torquato Tasso’s elegant poem Jerusalem Delivered ostensibly recounts historical events relating to the First Crusade at the turn of the 12th century, which attempted to forestall the Fall of the Byzantine  Empire and especially the fall of the holy city of Jerusalem to the Ottomon Turks.

In some of the actual battles associated with this effort, the knight Godfrey of Boulogne and his brother Eustace led the Crusaders. However, Tasso approached the subject matter as did the authors of 12th century French Song of Roland and Ludovico Ariosto’s Orlando Furioso, with minimal interest in actual historical events, but maximum interest in employing fantastical and magical elements to create epic works of fertile imagination.

George Frideric Handel loosely adapted one of the story lines from Jerusalem Delivered for what in 1711 became his first great operatic hit in London, and which was to remain his most popular opera during his lifetime. In the story a trio of Crusaders (Godfrey/Goffredo, Eustace/Eustazio and Rinaldo) and Rinaldo’s beloved Almirena are in conflict with King Argante of Jerusalem and the sorceress, Armida.

Handling the Baroque at the Lyric

Mounting a Handel opera in the 21st century requires many accommodations to modern realities, most obviously what types of voices will sing the roles and what types of instruments will comprise the orchestra.

Among the questions to be answered is in what time period will the drama be presented – in the century and geographic location implied by the story (say, 12th century Jerusalem for “Rinaldo”), someplace associated with Handel (usually, early 18th century London), or, perhaps, a supposedly contemporary setting somewhere in the 21st century Middle East?

Although epic narratives about battles between Muslims and Christians go back at least to the 11th century, and dramatic works based on them to at least the 16th, there is virtually nothing in “Rinaldo” other than the names of two actual Crusaders that is historical. Given that the adversaries faced by the “Rinaldo” Crusaders have paranormal powers and engage in witchcraft and the dark arts, instead of utilizing the warfare conventional to the 12th century, there is little in the plot to make any point about either ancient or current events relating to the Middle East, even if one wished to do so.

Therefore, the production designer, Francisco Negrin, has chosen, I believe most appropriately,  a Timeless Nowhere. No physical city of Jerusalem exists in the production, but the idea of some deeply desired place exists is a pile of Roman letters that spell out the holy city’s name in its Italian form – Gerusalemme.

The Heroes from the West

A foursome of three men and a woman represent the forces of, say, The West, who wish to overcome the alliance of a king and a sorceress who are in control of, say, The East.

[Below: Almirena (Julia Kleiter, left) and Rinaldo (David Daniels, right) study the logistics of their situation; edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

Their object is to break the spell of the Sorceress Armida whose magical powers help Argante sustain his grip on the land of Gerusalemme. Armida is aided by nine principal dancers – five men (Jonathan Emanuell Alsberry, Kyle Lang, Todd Rhoades, James Monroe Stevko and Louis A. Williams, Jr) and four women (Jennifer Goodman, Kristy Hronick, Sara Swenson and Teanna Zarro) who appear in various guises together or separately (usually grouped by gender) as demons, warriors, sirens, birds – whatever might be needed to confound the Western forces.

The Distribution of Voices

The opera, which premiered in London three centuries and a year prior to the Chicago performances, had famous castrati of the day cast in the roles of Rinaldo, Eustazio and a “Christian Magician”.

Several major recordings,  dating from the past 25 years, use a female mezzo-soprano for Rinaldo and a tenor or basso for for the Magician. One, starring Marilyn Horne, simply excised the substantial role of Eustazio entirely.

But in present times, we now have world class countertenor voices and Chicago secured the talents of three of them, David Daniels (Rinaldo), Iestyn Davies (Eustazio) and Ryan Belongie as the Magician (here called a Sage).

Although I had reviewed extraordinary performances from both Davies and Daniels in the same role in different theaters [see my reviews of their respective Oberons in Houston and Chicago at Incandescent Houston “Midsummer Night’s Dream” – January 25, 2009 and Britten’s “Midsummer Night’s Dream” in Chicago: Enchanting, Luminous, Hilarious – Lyric Opera, November 17, 2010], this is the first time I was able to see them both onstage together.

The title role is a felicitous one for Daniels who lists it as one most favorable to his voice [see the report of my conversations with him at Top of His Game – An Interview with David Daniels.]

Joining them is Sonia Prina, an artist associated with the Italian baroque, in the male role of Goffredo. This is the third theater in which I have reviewed performances by Daniels and Prina together in a Handel opera. The distinctive timbre of each of their voices in the overlapping portions of their high ranges is wondrous to hear.

The forces of the West include Julia Kleiter as Almirena, a woman beloved of Rinaldo, whom Negrin makes into the warrior princess prototype reminiescent of the superhero women of 21st century popular fantasy.

[Below: Eustazio (Iestyn Davies, left) counsels his younger brother Goffredo (Sonia Prina, right); edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

For the forces of the magical East, the soprano Elza van den Heever assumes the role of Armida and basso Luca Pisaroni that of King Argante.

[Below: Armida (Elza van den Heever, left) displays a passionate affection for Argante (Luca Pisaroni, right); edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

Armida’s powers are associated with a giant harpsichord (inspired, obviously, by the close association of much of Armida’s music with harpsichord passages of stunning virtuosity). In fact, the harpsichord becomes a centerpiece for Negrin’s presentation of the opera. It is here that Julia Kleiter’s Almirena is captured and imprisoned, and sings Lascia ch’io pianga, perhaps the opera’s most famous aria and certainly one of the most beautfiul ever written.

Kleiter, who was a brilliant Susanna in Paris [see my review at Fine Cast Revives Strehler’s Treasured “Nozze di Figaro” Production – Opera National de Paris, May 31, 2011], sang the plaintive air expressively and with consummate beauty.

[Below: the imprisoned Almirena (Julia Kleiter) reflects on her fate; edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

Handel’s superbly written arias of the heroic foursome (Daniels’ Cara sposa is another of the evening’s many high points) were beautifully sung. Their adversaries also held the audience’s rapt attention, with Luca Pisaroni, whose American appearances have most often shown him as a Mozartean, leaving a stunning impression as a Handelian basso.

The bravura performance of the evening was without question that of Elza van den Heever’s Armida. Director Negrin, rather than taking Armida’s fantastic aria Vo’ far guerra seriously, unleashed van den Heever’s comic skills.

At first her minions appeared to be playing the harpsichord accompaniment. Then, in an amusing interplay Armida, who has ordered her vassals to desist their playing, still hears the incessant sounds of the harpsichord. Scowling, she berates the Lyric Opera Orchestra’s harpsichord virtuoso, Jory Vinikour, then takes over mimicking his playing on the fantastical stage harpsichord. The audience howled with laughter.

[Below: Rinaldo (David Daniels) confronts the reality that his beloved is a captive of the forces of darkness; edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

Van den Heever, another artist whose Mozartean skills I have admired, proved adept at Armida’s vocal fireworks. [For an account of my conversations with her, see Rising Stars: An Interview with Elza van den Heever and Rising Stars: an Interview with Elza van den Heever, Part II.]

Conducting the opera was Harry Bicket, returning to Lyric after last year’s performances of Handel’s “Hercules”. His orchestra included the theorbo played by Peter Swenson and continuo cello of Patrick Jee.

Louis Desire was the Set and Costume Designer, Bruno Poet the Lighting Director. Ana Yepes, the choreographer, produced very challenging and always interesting dance routines.

Special mention must be made of Ryan Belongie, the former San Francisco Opera Adler Fellow who played the countertenor role of the Sage. Belongie’s accomplished singing suggests yet another generation of countertenors will be available for the great baroque opera roles suited to the high male voice.

[Below: Eustazio (Iestyn Davies, center) is at the gates of Gerusalemme; edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

Considering the Production Designs of Franicsco Negrin and Peter Sellars

I have had the opportunity over the past couple of years to review new productions of pre-Mozartean opera at both the Santa Fe Opera and the Lyric Opera of Chicago by two of the most imaginative contemporary concept designers. Francisco Negrin has chosen to mount productions as otherworldly fantasies, both “Rinaldo” and Gluck’s “Alceste” (see my review at Christine Brewer, Paul Groves Lead Elegantly Sung “Alceste”: Santa Fe – August 1, 2009).

The two Peter Sellars’ productions that I reviewed both attempted to distill lessons for our present time from Handel (see Strong Cast for Peter Sellars’ Reconceptualization of Handel’s “Hercules” – Lyric Opera of Chicago, March 16, 2011) and Vivaldi (Extreme Makeover: A Vivaldi Revival’s Reveal – Peter Sellars’ “Griselda” at Santa Fe Opera – August 4, 2011 - both of which included David Daniels in estimable casts.)

[Below: the Sage (Ryan Belongie, top left with wings) imparts magical properties to the brothers Eustazio (Iestyn Davies, bottom left) and Goffredo (Sonia Prina, right); edited image, based on a Dan Rest photograph, courtesy of the Lyric Opera of Chicago.]

Despite Sellars’ conviction that “Hercules” and “Griselda” can yield morals for contemporary society, I find these baroque stories simply barren of any modern meanings. I’m much more inclined to go with Negrin’s presentation of absorbing, even if fantastical, frameworks for piecing together Handel’s supremely beautiful music. Negrin’s 18th century opera fantasy world works (even better, I think, for Handel than for Gluck).

Negrin’s imagination, however, is not limited just to finding the right way to interest audiences in baroque operatic masterpieces. In November, 2012 Francisco Negrin’s work will again be seen at the Lyric Opera, in this case a revival of Negrin’s production of “Werther” originally seen in San Francisco [see my review at “Werther” Re-invented, Yet Again – Francisco Negrin’s New Production at San Francisco Opera, September 15, 2010.]

Here Negrin merges the pyschological realities of the disturbed protagonist with Charlotte’s surreal dreamworld, demonstrating yet again that Negrin is one of the currently most inventive, imaginative and substantive operatic stage directors of our time.

For my reviews of other performances together by David Daniels and Sonia Prina, see: Graham, Daniels, Prina Excel in Elegant, Witty “Xerxes” – San Francisco Opera, October 30, 2011, and also,

“Xerxes” Unexcelled – Houston Grand Opera, May, 2, 2010.

For my review of another performance by Sonia Prina, see: Graham, Swenson, Prina Luminous in S. F.’s Stellar “Ariodante” – June 15, 2008.

For my reviews of other performances by both Elza van den Heever and Luca Pisaroni, see: Kwiecien Excels in McVicar’s Dark Side “Don Giovanni” – S. F. June 2, 2007.

For my reviews of other performances by Elza van den Heever, see:  Bel Canto “Cosi fan Tutte” at Dallas Opera – February 18, 2010, and also,

The Man Who Loved Women: Lucas Meachem’s Empathetic Don Giovanni – Santa Fe, July 31, 2009, and also,

For my review of other performances by Luca Pisaroni, see: Copley Directs, Luisotti Conducts, Sparkling “Nozze” Ensemble – San Francisco Opera, October 3, 2010, and also.

Kwiecien, Pisaroni Lead Youthful “Figaro” Ensemble in Santa Fe – August 13, 2008.