La Traviata – An Opera in Three Acts by Verdi

La Traviata – An Opera in Three Acts by Verdi

Fathom events, March – On Saturday, March 11, 2017, the Metropolitan Opera presented Giuseppe Verdi’s much-loved La Traviata through the popular “The Met: Live in HD” series, screened simultaneously in hundreds of movies theatres to thousands of opera lovers throughout the world.

Verdi’s masterpiece received it’s world premiere in Venice at the Teatro la Fenice in 1853. It managed to survive a notoriously poor opening night reception, but went on to become one of the best-loved operas in the repertoire. It is probably one of the most performed works in the history of opera.

The La Traviata was a unique and challenging opera for its day (mid-nineteenth century Italy) since
“The Fallen Woman” of the title, Violetta, was an unmanageable courtesan who defies the rules of the day to fall in love with and live with Alfredo, the embodiment of “respectable” society. This theme ran counter to the prevailing unspoken rule that only those of nobility were to be dramatized as victims of a tragic love affair and the opera’s initial impact on the audience was accordingly negative. However, with some reworking, it was accepted and praised by audiences soon after its premiere and such themes were to become popular right up to Julia Roberts’ portrayal of la traviata in Pretty Woman.

In this sparsely staged, stark white production, the dominant set piece was a giant clock, ominously indicating the theme of change and impermanence throughout the three acts. Time is running out. The essentially bare stage allowed us to focus our attention on the two principle singers, soprano Sonya Yoncheva as courtesan Violetta Valéry in the title role and tenor Michael Fabiano as her obsessed lover, Alfredo Germont. The chorus was made up of perhaps 30 or more taunting men who are inventively choreographed so that they are either silent or vocal witnesses to the unfolding tragedy of Violetta and Alfredo’s love. Violetta’s lipstick-red cocktail dress symbolically stood in stark contrast to the black and white tuxedos worn by the chorus, her ever-present marginally hostile party guests and “clients.” At the height of her popularity, she cavorts atop a lipstick-colored sofa borne aloft by her “admirers.” Later, when rejected and shunned by all, she collapses in the middle of an empty stage as those dearest to her turn away from her in revulsion.

This magnificent Met production staged by Willy Decker has been hailed by the critics as one of the finest Traviatas in decades. Prior to this staging coming to the Met, it was a sensation at the 2005 Salzburg Festival and it is agreed by the critics that this current Met offering surpasses its Salzburg predecessor. It is truly “Croce e delis al cor!” Torment and delight of the heart! In the grandest Italian operatic tradition.

by Lidia Paulinska and Hugh McMahon

Met Live – Rusalka

Met Live – Rusalka

Fathom events, March – The Metropolitan Opera’s magnificent production of Antonin Dvorák’s 1901 opera Rusalka was enjoyed by audiences world-wide on Saturday, February 25, 2017.  It was viewed in hundreds of cinemas  throughout the world through “The Met: Live in HD” series, an invaluable cultural treasure presented by Fathom Events.

 

The New York Times had hailed this stunning production as “a shockingly dark, sexy drama,”  an unlikely description of an opera, especially one based upon “The Little Mermaid” fairy tale.  The Times goes on to observe, “the mysterious look of the production, fantastical and ominous, combines with sensual singing by a handsome cast to create a romantic energy rare at the Met — or at any opera house.”

 

The visually rich production, the work of Mary Zimmerman, is indeed fantastical, with shimmering sea-green flowing costumes on the water nymphs against a background of a huge harvest moon projection and the huge Met stage dominated by an ominous giant snake-like Monterey pine which seems to quietly terrorize like a monstrous atrophied boa constrictor.

 

The superb cast is lead by the Lovely Latvian soprano Kristine Opolais who offers us a vocally lustrous and beautifully rendered performance as Rusalka, the water nymph who longs to become human and makes the mistake of falling in love with a handsome human prince, played by the compelling tenor Brandon Jovanovich.  The vocally and physically imposing American bass-baritone Eric Owen powerfully commands the role of Rusalka’s father, the Water Gnome. The wonderful cast is completed by the performance of Jamie Barton as the evil witch Ježibaba who interprets the villainous role to perfection. There’s a theatrical tradition that occasionally calls for a villain to display hints of humor and irony, and Mr Barton doesn’t disappoint.

 

Conducting the Met orchestra was the renowned maestro Sir Mark Elder who interpreted Dvorák’s Romantic score with much spirit and passion.

 

Rusalka at the Met was delightful and a memorable operatic experience not to be missed.

The Met Live: Elektra

The Met Live: Elektra

April, Fathom events – On Saturday, April 30, 2016, I had the privilege and pleasure of viewing a screening of a live performance of Richard Strauss’s inexorable one-act opera Elektra,*  the concluding operatic work in a year-long 10th anniversary celebration of “MET: LIVE in HD,” which had featured ten of the world’s greatest operas on giant cinema screens  throughout the US.

The production premiered at the  Aix-en-Provance Festival in France in 2013 and is considered to be a landmark contemporary staging of Strauss’s masterpiece.  It was produced by the renowned Patrice Chereau who tragically died shortly after the opening at the age of 68.  (A DVD is available of that production.)

The superb cast is headed by the smoldering intensity of soprano Nina Stemme in the title role whose Elektra is unremittingly consumed with a passion for vengeance upon her mother Klytamnestra, widow of Agamennon, performed masterfully by mezzo-soprano Waltraud Meier, and her lover, the cowardly Aegisth, convincingly portrayed by Burchard Ulrich, who have brutally murdered Elektra’s father Agamemnon.  Bass-baritone Eric Owens gives a strong rendering of her sympathetic brother Orest and Adrianne Pieczonka rounds out this incomparable cast as her weakling sister Chrysothemis who plays a perfect counterpoint with her banal domestic aspirations to her possessed sister Elektra who has dedicated her life to revenging her father’s murder, She realizes her goal in the end, but at the expense of her sanity.

Staged in an ominously sparse gray space with costumes to match, Chereau’s smoldering rendering of Strauss’s masterpiece is a production for the ages and opera at it’s best!

* * * Significantly, Sigmund Freud used Sophocles’ Elektra in his analysis of a daughter’s attachment to her father, and Oedipus Rex as the basis for his theory of a son’s attraction to his mother.  The so-called “Oedipus” and “Elektra” complexes continue to be very much a part of Freudian psychoanalysis.

 

by Lidia Paulinska and Hugh McMahon

The Met Live: Madama Butterfly

The Met Live: Madama Butterfly

Fathom events – Hailed by The New York Times as “A gorgeous cinematic spectacle,” and in continuation of their invaluable cultural service by offering stunning live filmed performances, Fathom Events presented Giacomo Puccini’s Madama Butterfly for a one night only screening on April 6, 2016 in over 700 movie theaters worldwide. It was truly an incomparable operatic and cinematographic event not to be missed!

Anthony Minghella’s* breathtaking production has delighted and thrilled audiences at the Met ever since it premiered in 2006.  Soprano Kristine Opolais reprises her unanimously acclaimed performance in the title role opposite the extraordinary Roberto Alagna who masterfully portrays the American naval officer Pinkerton who abandons his delicate Japanese Butterfly and breaks her heart. Ms Opals was recently seen at the Met one month earlier in the title role of Puccini’s Manon Lescaut with Roberto Alagna in the role of her indomitably suitor des Grieux. That performance was also offered to movie-goers throughout the world compliments of Fathom Events.

Puccini’s Madama Butterfly had its world premiere in 1904 at Teatro alla Scala, Milan. It was initially received poorly, but after numerous revisions it became a much-lauded success and today it is one of the most celebrated operas in the world. Puccini was inspired to create his opera after seeing a one-act play in London in the summer of 1900 titled Madame Butterfly, produced by the American theatrical impresario David Belasco. Belasco in turn had based his play on a short story by an American writer of little note by the name of John Luther Long.

The opera premiered at the Metropolitan Opera in New York in 1907 with the composer in attendance and featured world-renowned tenor Enrico Caruso as Pinkerton. From that point onward, its popularity has never waned.

In addition to first-rate performances delivered by Ms Opals, Mr Alagna and the supporting cast and chorus, the simplicity of the production not only allows us to focus our attention on the performers without distraction, but also offers a milieu reminiscent of the austere minimalism of a Japanese Kabuki stage. Set Designer Michael Levine has created an unencumbered performance space, utilizing unadorned sliding framed fabric screens to indicate scene changes while upstage a broad staircase, extending the width of the massive Met stage, functions to herald significant entrances and exits.

Costumes by designer Han Feng, are traditional Kabuki in style, being grand and colorful when appropriate to character, and stand in bold contrast to an essentially bare stage. As in the Kabuki theatre, so too in this masterful production, our focus is drawn exclusively to the performers with appropriately minimalist production values in a subordinate yet supportive role.

The story is simple but the emotions run deep.

Captain Benjamin Franklin Pinkerton, an American sea captain who, while visiting Japan, marries Cio-Cio-San, a beautiful Geisha nicknamed “Madama Butterfly.” He departs for America (and here Puccini interpolates a couple of bars from “The Star-Spangled Banner” as he does in every Pinkerton scene) and doesn’t return until three years later. By this time Butterfly has given birth to their son and Pinkerton has remarried, this time to an American with whom he returns to Japan. In despair, Butterfly, who has been faithfully awaiting his return, hopefully watching every ship that arrives in Nagasaki Harbor, takes her own life and Pinkerton, in realizing his folly, collapses in abject grief.

An additional indigenous Japanese theatre form Minghella was inspired by was the ancient Bunraku, the puppet or “doll” theatre of Japan. In this production, the puppets are manipulated by traditional three puppeteers, all veiled in black, from San Francisco’s Blind Summit Theatre, appearing initially in Act I representing Cio-Cio-San’s servants. In the Second Act her young son is represented by a puppet of remarkable life-like quality, and in the final act, puppets dramatize the conflict between Butterfly and Pinkerton in a dream-like play-within-a-play sequence.

This wonderful Metropolitan Opera production by Minghella is now celebrating it’s tenth anniversary and one can easily understand why it’s one of the Met’s more popular offerings and why Puccini’s masterpiece continues to be an enduring staple of the operatic repertoire around the world.

*Anthony Minghella (1954-2008) was a renowned British film director, producer, playwright, and screenwriter. His much-celebrated The English Patient won 9 Academy Awards in 1996, followed by The Talented Mr Ripley which garnered an additional 5 Oscars. In 2003 he won another Oscar for Cold Mountain. Minghella was married to Carolyn Choa who masterfully directed and choreographed this current production of his magnificent Butterfly” . He died of cancer in 2008 at the age of 54.

 

By Lidia Paulinska and Hugh McMahon

The Met Life: Georges Bizet’s The Pearl Fishers

The Met Life: Georges Bizet’s The Pearl Fishers

Georges Bizet (1838-1875) the renowned French composer best known for his ground-breaking opera Carmen which premiered in Paris in1875 and is indisputably one of the most popular operas of all time.

Exactly three months after it’s opening night however, and on his sixth wedding anniversary,  Bizet died of a heart attack at the age of 36 as a result of a chill he contracted after a swimming competition.   Unfortunately, Carmen had not been well received initially since it was the first time a major opera realistically depicted everyday characters in leading roles rather than the traditional subject matter featuring the lives of royalty or mythological figures.  Carmen herself, for example, is a cigarette-smoking, Gypsy factory worker of questionable virtue and this definitely did not set well with the opera-going public of the time.

Twelve years prior to Carmen in 1863, Bizet had composed another opera, Les Pecheurs de Perles (“The Pearl Fishers”), traditionally considered to be a minor effort and roundly criticized for it’s poor libretto and lack of any rousing arias while acknowledging adequate choric offerings.  And although these shortcomings seem to hold true to this day, nonetheless, New York’s Metropolitan Opera succeeded in staging a captivating and often scenically stunning production viewed by thousands of opera lovers in neighborhood theaters throughout the U.S. thanks to Fathom Events and The Met: Live in HD series, currently celebrating it’s 10th Anniversary.

The scene is a pearl-diving village in the Far East, presumably Sri Lanka, and  the plot deals with Leila, a Hindu virgin priestess and two men Zurga and Nadir who are vying for her affections.  In this traditional love triangle, Nadir, played by tenor Matthew Polenzani, triumphs and he and Leila, depicted my mezzo soprano Diana Damrau, escape a fated death as baritone Mariusz Kwiecien as the vengeful Zurga, burns down the village in a rage of jealous spite.

All of the players perform credibly, perfectly vocalizing Bizet’s Romantically derivative yet  rather engaging score, but the scene-stealer is the scenic values themselves.  The set is appropriately functional and admirably serves the demands of the production, but the real spectacle is the stunning computer generated projections thanks to the magical wizardry of 59 Productions who are credited with production design.  The opening scene for example is an underwater projection which takes up the entire proscenium of the Met stage and superimposed on the screen are two pearl fishers, actually ballet dancers supported by invisible cables a la Cirque de Soleil, who appear to be rhythmically swimming in a deep blue “ocean,’ complete with bubbles and rays of sunlight streaming through it’s depths.  Sergei Diaghilev, the iconic Russian empresario who in 1909 founded the Ballets Ruses, was once asked by a set designer what he wanted by way of scenery, to which Diaghilev replied, “Astonish me!”  and that’s exactly what the production design team succeeded in doing in this captivating production.  We were astonished!

On balance, a valuable and entertaining theatrical experience  and an opportunity to witness a pearl of an opera delicately extracted from an oyster shell of near oblivion  in a lovely offering by The Met.  Thank you and Bravo!

 

by Lidia Paulinska and Hugh McMahon