Richard Sasanow - Page 29

Not many opera performances start with a standing ovation before a single note is sung, but the season's first COSI FAN TUTTE on September 24 was one of those rare occasions. It marked the return of conductor James Levine after a two-year absence, leading the performance from a motorized chair at a specially constructed podium. He had the orchestra—and the audience—in the palm of his hand.

With a story that is somehow poignant despite its scatological language, ANNA NICOLE's heroine is nicer than Berg's LULU, less lucky than TRAVIATA's Violetta and more cunning than MANON's Manon (though maybe not MANON LESCAUT's). Whatever she is, Anna Nicole Smith is definitely a full-fledged operatic heroine. As portrayed by American soprano Sarah Joy Miller in the local premiere of the Marc-Anthony Turnage-Richard Thomas work about the life and times of minor celebrity Smith, this is a wildly entertaining evening. The opera, which debuted two years ago in London, opened on September 17 at Brooklyn Academy of Music, compliments of New York City Opera and BAM's Next Wave Festival, directed by Richard Jones.

Where does the Mark-Anthony Turnage-Richard Thomas opera, ANNA NICOLE, stand? “On the line of opera and musiktheatre,” said Elaine Padmore, former director of opera at the Royal Opera Covent Garden, speaking on a panel at the Guggenheim Museum's “Works & Process” event on September 8. This “obscene and marvelous show,” which debuted in 2011 at London's famed opera house, tells the story of tabloid queen Anna Nicole Smith not only through music and words but nonstop movement as well, choreographed by Aletta Collins. It will have its American premiere on September 17 as a co-production of New York City Opera and BAM (Brooklyn Academy of Music), directed by Richard Jones.

Two-thirds into the bicentennial year of both Richard Wagner and Giuseppe Verdi, the recordings marking the occasions keep coming. Even in a crowded field, recent disks from two of today's major singers, Russian soprano Anna Netrebko and German tenor Jonas Kaufmann, are both treats--making strong cases for the music as well for themselves as artists.

It's a slippery slope--when an orchestra commemorates the career of a famous singer, featuring other, less well-known artists. That's exactly what the Orchestra of the Age of Enlightenment did last Thursday at Mostly Mozart in Alice Tully Hall. In an all-Handel concert, the group remembered its long collaboration with the late, celebrated mezzo Lorraine Hunt Lieberson, conducted by Laurence Cummings. Would the concert bring the discovery of exciting talent who had yet to make their mark in New York? Would the soloists--both unknown to me--thrill us while paying homage to the person they were celebrating, in music that she made famous? I kept wondering about this before the concert began, with feelings of expectation and exhilaration.

From its earliest days, Lincoln Center's Mostly Mozart Festival has included opera among its offerings, although I recall no production being quite so acclaimed as Iván Fischer's DON GIOVANNI of two seasons ago. With so much to live up to, the director-conductor's vision of Mozart's LE NOZZE DI FIGARO had its work cut out for it, seen on August 13 at the Rose Theatre. More than a concert version but less than a fully staged production, this was a FIGARO that charmed the audience with some good singing and lively staging, but was somehow less than the sum of its parts.

Is Lincoln Center planning to change its summertime schedule from “Mostly Mozart” to “Basically Beethoven”? If so, they couldn't have picked a better concert to put the point across than the opening program of this year's Festival. Heard on Wednesday evening, July 31, the performance was led by Music Director Louis Langrée.

When last heard on the stage of the Metropolitan Opera, mezzo Isabel Leonard and soprano Erin Morley were a couple of nuns on their way to the guillotine in LES DIALOGUES DES CARMELITES. This time around, the two women--along with tenor Stephen Costello--kicked off the Met's Summer Recital Series at SummerStage in Central Park, and it was the audience that lost its head.

The Caramoor Festival in Katonah, NY said “Bon anniversaire, Joseph Vert”--that's “Happy Birthday, Giuseppe Verdi” in French--on Saturday night, with a performance of LES VEPRES SICILIENNES, celebrating the composer's bicentenary. It offered a fine opportunity to hear an opera that followed the composer's “big three” middle works--RIGOLETTO, IL TROVATORE and LA TRAVIATA--but hasn't really found a place in the modern repertoire. It's your 'typical' opera story--boy meets girl, boy loses girl, boy gets girl, and the French are massacred, set against the 13th century occupation of Sicily by France.

It's a rare occasion when a concerto--even one as brilliantly played as violinist Lisa Batiashvili's performance of Prokofiev's First--takes a back seat to the second half of the program. But the New York Philharmonic's concert performance of Luigi Dallapiccola's IL PRIGIONIERO, conducted authoritatively yet sensitively by Alan Gilbert, was such an event. By turns thrilling, soaring and sorrowful, the 50-minute opera, written in 1948, was as exciting a night at the opera as we had this season.

The regular season just ended for the Metropolitan Opera--all that's left is a series of HD rebroadcasts on Lincoln Center Plaza and a couple of low profile concerts in New York City parks--and it's time for a look back at what kind of season it was. With seven new productions and 21 other operas in rep during a season that ran from the end of September to mid-May, the Met was nothing if not far-reaching in its repertoire. And that's the way it should be. But how did its ambitions work out?

Katarina Dalayman is one of a handful of top Wagnerian sopranos in the world, but for the first act of the Met's GÖTTERDÄMMERUNG, the climax of the Met's second 'Ring' cycle of the season, she didn't seem very heroic. Neither, for that matter, did tenor Jay Hunter Morris, who caused quite a stir when he jumped into GÖTTERDÄMMERUNG's premiere season a year ago. Who knows what was wrong? In any case, they recovered vocally for Act 2 and excitingly sailed through the rest of the mammoth, exhausting work.

What would the Metropolitan Opera (and its audiences) do without its production of Francis Poulenc's DIALOGUES DES CARMELITES, which opened for the season with Saturday's matinee, May 4? As created in 1977 for its Met premiere by director John Dexter, this CARMELITES is unlike anything else in the company's repertoire--simply designed and a showcase for a brilliant ensemble of female voices. It is a reminder that opera productions can be moving, effective and, yes, thrilling in the most understated ways.

Anyone expecting vocal fireworks from soprano Nina Stemme's appearance last night at Alice Tully Hall with the Swedish Chamber Orchestra, under Thomas Dausgaard, was woefully disappointed. Count me as one of them.

New York City Opera's production of Jacques Offenbach's LA PERICHOLE feels right at home at City Center, home of the 'Encores!' series, which reintroduces audiences to lesser known Broadway musicals that failed or went out of fashion despite wonderful scores. PERICHOLE doesn't have a care in the world in Christopher Alden's boisterous vision. It's a cheerful reminder of a musical style that has unjustifiably fallen by the wayside.

The groans were audible--no, powerful--when the Metropolitan Opera's General Manager Peter Gelb stepped out in front of the curtain on the second night of the company's new David McVicar production of Handel's GIULIO CESARE. They grew louder as he announced that soprano Natalie Dessay was ill and would not be singing the pivotal role of Cleopatra. But I'd bet that these same operagoers were cheering along with the majority of the audience at the sensational portrayal of the replacement, soprano Danielle de Niese, whose brilliant coloratura took the runs, roulades and trills of this demanding score with ease.

Besides singing her dream role of Violetta for the first time anywhere, soprano Diana Damrau was also RIGOLETTO's Gilda in the Met's new 'Ratpack' production that was seen by millions worldwide as an HD broadcast in February. And, oh yes, there was the arrival of her second son, Colyn, whose impending birth late in 2012 had sent the opera world into a tizzy, when Mama Damrau began cancelling performances.

I've always been a sucker for a good vampire story--and Heinrich Marscher's opera DER VAMPYR fits the bill, though I don't expect it to turn up at the Metropolitan Opera any time soon. The American Symphony Orchestra under Leon Botstein, at Carnegie Hall this past Sunday, provided an exhilarating introduction to this 1827 singspiel, sung in German with dialogue in English.

Andre Previn's operatic version of Tennesee Williams's A STREETCAR NAMED DESIRE, with a libretto by Andrew Littell, made its belated New York debut at Carnegie Hall on Thursday. It plays to Renee Fleming's vocal strengths, with her shimmering, lyric soprano and soaring high notes. This is not surprising since Previn wrote the role of Blanche specifically with her in mind and it shows with every note she sings. But is she Blanche? Unfortunately, she's too healthy, too sane and too much a star to be the character that Williams created, a woman clings to a false gentility--and her sanity--from the moment that she arrives on stage. It also doesn't help that she has zero chemistry with New Zealand baritone Teddy Tahu Rhodes the Stanley Kowalski of the evening. Rhodes' muscular baritone carries the threat that Blanche should feel, but he might as well be playing to the Merry Widow.

Expect the unexpected from cabaret stylist Patricia Racette. Yes, I said 'cabaret.' If you've only heard her at the Met or San Francisco Opera as Tosca or Madama Butterfly, you'll probably find her performance in 'Diva on Detour' a revelation. It's 'a high-note-free zone'--which doesn't give a hint that its owner spends most of her time on some of the world's great opera stages.