Compelling Concert Tristan Torso

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March 7, 2013
From Seen and Heard International By: James L. Zychowicz

To commemorate the bicentenary of Richard Wagner’s birth, the Chicago Symphony Orchestra devoted a concert to portions of Tristan und Isolde, the well-known Prelude to Act I and the entirety of Act II. Infrequently heard in concert, the second act is well-suited to Symphony Center, and offers the chance to hear details that sometimes blur when the opera is staged and the orchestra is relegated to the pit. The second act’s love duet alone deserves the attention.
Esa-Pekka Salonen approached the first-act prelude with intensity, as evidenced by his control of tempo and dynamics, building the opening incrementally to the initial forte. From the start, the drama was present, with the rich, full sound of the cellos setting the tone. As familiar as this piece may be, this performance had the precision of a studio recording. The fullness of sound never flagged, thanks to Salonen’s precise and clear direction.
Moments after the prelude ended, Salonen began the second act so that the intensity was not lost. The orchestra started brilliantly, with the opening measures clearly articulated, and vibrant woodwind timbres given the clarity heard on recordings, but not always in the opera house. The singers did not begin seated, but entered as they would in a staged production. Watson and DeYoung entered discreetly, just before their vocal lines, across the stage from each other, and sang louder than when blocking places them more closely together. Watson is certainly an experienced Isolde, with the range and flexibility needed. At times the entrances in the upper part of her range seemed somewhat strained, perhaps due to her placement in the hall. Later, when Watson and Stefan Vinke stood next to each other on the side of the stage, there were no such issues with volume and tone quality. Watson was most impressive in her duet with Vinke, in the part of the second scene that begins “O eitler Tagesknecht!” The intensity of her delivery was paired with appropriate tone.
Stefan Vinke gave a laudable performance as Tristan, but his somewhat open sound seemed out of place in the more intimate space of Symphony Center—as if he were singing in a larger hall—and sometimes overbalanced the orchestra. Yet the last part of the second scene was moving, starting with “O ew’ge Nacht,” in which Tristan declares his love for Isolde. While pitch was sometimes a problem, the overall effect was strong.
As Brangäne, Michelle DeYoung was impressive throughout—especially her sensitivity to line and the text’s inflections. This was a Brangäne who cared enough not to let Isolde suffer the death potion, a Brangäne who also warned her about some of those in the court around her. DeYoung’s urgency was as dignified as her musicality. Her exchanges with Watson in the first scene were consistently outstanding, with notable intensity to her final “Habet acht!” just before the closing of the second scene.
In the other roles, Sean Panikkar was particularly effective as Melot, with incisive, precise delivery, and John Relyea’s portrayal of King Mark had just the right weight and inflection—all anchored by Salonen’s contributions.

United States Wagner, Tristan und Isolde, Prelude to Act I, Act II (concert version): Linda Watson, soprano (Isolde); Michelle DeYoung, mezzo soprano (Brangäne); Stefan Vinke, tenor (Tristan); Sean Panikkar, tenor (Melot); John Relyea, bass-baritone (König Marke); Daniel Eifert, baritone (Kurwenal); Chicago Symphony Orchestra; Esa-Pekka Salonen (conductor). Symphony Center, Chicago, 22.2.2013 (JLZ)
Wagner: Tristan und Isolde, Prelude to Act I, Act II

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One Foscari Better Than the Other

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February 1, 2013
From Seen and Heard International By: José Mª. Irurzun; Picture courtesy Palau de Les Arts Valencia, © Tato Baeza

Spain G. Verdi, I Due Foscari: Soloists, Valenciana Community Orchestra, Generalitat Valenciana Chorus, Omer Meir Wellber (conductor), Palau de Les Arts, Valencia (JMI)
New Production Palau de Les Arts in coproduction with Los Angeles Opera, Theater an der Wien and Covent Garden.

I Due Foscari was the sixth opera composed by Giuseppe Verdi and was his second collaboration with librettist Piave. I find it one of Verdi’s best from “the galley years”, but it is one of the least performed, probably due to the influence of its weak and predictable plot.
In Spain it has been performed rarely, most recently in Bilbao (2008, S&H review here) and Las Palmas (2011). This production in Valencia commemorates the bicentennial of Verdi’s birth, and features Placido Domingo, who only added the character of Francesco Foscari (the 140th of his career) last September in Los Angeles in this same production.
Thadeus Strassberger is content simply to narrate the story of the Foscari (15th century Venetians), placed in its historical setting. The sets are limited to a platform in the middle of the stage, with the scene changes indicated by adding modules and props. Behind this was a permanent bridge, on which extras and members of the chorus appeared every so often. Least convincing of the stage production is the last scene, placed in the bedroom of the Doge instead of the Council Chamber.
The costumes are very appealing, always in red, black or white (apart from those for Lucrezia Contarini) and the dark and gloomy atmosphere allows imaginative lighting. A production, all said, that is neither problematic, nor attractive, nor interesting.
Omer Meir Wellber conducted with so much energy that it sometimes seemed excessive. On more than one occasion the volume was ill-judged, especially in the ensembles, and there were some coordination problems in the first act between stage and pit. The orchestra again proved its quality, although the sound was not equal to that achieved under Riccardo Chailly last December. (S&H review here.)
The cast disappointed: None of the three main characters had voices well suited to the roles they were singing. The Doge Francesco Foscari is one of the greatest characters to sing for a true Verdi baritone. Placido Domingo is not, however, a true Verdi baritone. His miraculous vocal freshness (at 72!) and unequaled status in the history of opera notwithstanding, Mr. Domingo is still a tenor, just without the top notes and this rôle a poor fit. Whereas his exceptional artistry helped him perform most moving Simon Boccanegra, the feat was not repeated here. In his grand finale he lacked emotion, simply because his voice is not appropriate to the demands of the character.
In the first two acts there was a shortage of contrast between the voices and Domingo was virtually inaudible in the main concertante. At least he knows that he is not a baritone and he never tries to be one, always singing, as he does in an easily appreciated, very natural way. Perhaps not a disappointing performance in the end, but also not a thrilling one.
The character who has to sing the most is Jacopo Foscari, a rôle for a spinto tenor who is also no stranger to belcanto. Ivan Magri is a light lyric tenor, as we could hear in his performance in this same theatre as the Duca di Mantova. He tries to darken his voice, but he can only achieve one continuous sound, which results in monotonous singing. In Los Angeles, Francesco Meli sang this character and although his vocal characteristics are similar, his singing was better by far. Not Magri’s fault, but one of unfortunate casting.
Something similar can be said of Guanqun Yu, a lyric soprano who lacks the range for a character like Lucrezia Contarini. Her middle range is not strong enough for the character, with serious shortfalls in the low notes where she is practically inaudible. The best part of her voice is the top register, which is remarkable in the ensembles, but the lack of color in her voice makes boring listening. She would be a very good in different repertoire. The most important voice, although not the best, was that of Gianluca Buratto as Jacopo Loredano, who did well. This character does not demand nobility in the voice so the range and character suited this Italian bass.
This was the premiere of the opera in Valencia but despite Plácido Domingo heading the cast, the Palau de Les Arts was not even at 90% of its capacity—and that after steep last minute discounts on tickets.

Direction: Thaddeus Strassberger
Sets: Kevin Knight
Costumes: Mattie Ullrich
Lighting: Bruno Poet
Cast
Francesco Foscari: Plácido Domingo
Jacopo Foscari: Ivan Magri
Lucrezia Contarini: Guanqun Yu
Loredano: Gianluca Buratto
Barbarigo: Mario Cerdá
Pisana: Marina Pinchuk

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The Not So Perfect American

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January 29, 2013
From Seen and Heard International By: José Mª. Irurzun; Picture courtesy Teatro Real, © Javier del Real

Spain P. Glass, The Perfect American: Soloists, Orchestra and Chorus Teatro Real, Dennis Russell Davies (conductor), Teatro Real, Madrid, 22.1.2013 (JMI)
World Premiere Performance

The world premiere of an opera is always a very special occasion, especially if it is the work of a renowned composer like Philip Glass. Credit is due to Teatro Real’s artistic director, Gerard Mortier, who brought this opera to Madrid from the smoldering ruins of his aborted would-be stint at the New York City Opera.
The libretto to The Perfect American is by Rudy Wurlitzer and in turn based on Peter Stephan Jungk’s novelized biography of Walt Disney, Der König von Amerika. The libretto is the major weakness of the opera: there is no dramatic action, only the demystification of the figure of Disney through a series of scenes that show (variously fictionalized) key points in his life. There is no drama, nor contrast, just a particular view of the character, emphasizing his reactionary ideas, his racism, his selfishness, his desire for notoriety, and his need to leave an enduring legacy.
There is nothing unusual in the fact that a character as famous as Disney is shown in a whole different light to the usual image we receive. This has happened to many characters in literature and opera—think Don Carlo, Philipp II, or Mary Stuart. The problem is that what might work in a novel or in a biography does not necessarily work as an opera libretto, especially if there is little drama and still less differentiation between characters. We are near enough in time to Disney for the story to resonate, but I doubt if this will endure beyond this generation.
Jungk’s Disney may bear surprises for those who never heard about the more salacious rumors and factoids of Micky Mouse’s creater. But it’s not enough to engage the attention of the audience. Dantine, a trade unionist and cartoonist fired by Disney and now back on his trail, might have kindled the necessary interest, but Wurlitzer’s libretto presents him as near-insignificant.
Thankfully the work is much stronger, musically. Although Philip Glass’s music is not to everybody’s liking, there is no doubt that he is one of the most important composers of our time. In this case there is less focus on minimalism than usual. The score is pleasant, easy to listen to, and masterfully orchestrated. There are plenty outstanding passages which perfectly meets one’s expectations… certainly mine. For my money, it is one of Glass’ very best operas. That said, it is important to emphasize that the vocal writing in this opera is not interesting, demanding as it does only some quasi parlando recitatives that are more suitable for actors than opera singers.
Phelim McDermott’s production, finally, is excellent. There is only one stage, in the form of a raised platform. A few differentiating props denote the change of scenes, and good use is made of video projections. The direction of the actors is really good; the dialogue between Walt Disney and his Abraham Lincoln robot (“Great Moments with Mr. Lincoln”) at the end of Act I is one of the high points.
The musical direction was entrusted to Dennis Russell Davies, who gave a wholly convincing interpretation. It can’t be easy to conduct this opera, but he did a very good job, keeping the tension and interest all the way through—which is quite a feat in a still-unknown opera by Philip Glass. The orchestra of the Teatro Real played along excellently and the performance from the chorus was top notch.
As I have already said, vocally there is little of interest in this opera. In this, there is a big difference with the other world premiere of recent months, Written on the Skin by George Benjamin, which I found much more interesting both dramatically and vocally.
Christopher Purves seems to have become a star of world premieres; he was also the protagonist in George Benjamin’s opera Written on the Skin (S&H review here). His interpretation of Walt Disney was dramatically convincing but, inevitably given my previous remarks, uninteresting vocally.
David Pittsinger was adequate as Roy Disney, Walt’s brother, while Janis Kelly made a serviceable Hazel George or Snow White—the nurse and supposed paramour of Disney. Among all the other vocal performance, only Donald Kaasch’s William Dantine was interesting and good enough to merit mention; the rest didn’t, at least, offend.

Production: Teatro Real and English National Opera
Direction: Phelim McDermott
Sets and Costumes: Dan Potra
Lighting: Jon Clark
Videos: Leo Warner
Cast
Walt Disney: Christopher Purves
Roy Disney: David Pittsinger
William Dantine: Donald Kaasch
Hazel George: Janis Kelly
Lilian Disney: Marie McLaughlin
Sharon. Sarah Tynan
Diane: Nazan Fikret
Lucy/Josh: Rosie Lomas
Abraham Lincoln: Zachary James
Andy Warhol: John Easterlin
A Doctor: Juan Noval-Moro

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