Pamplona Magic Flute Redux

rom Seen and Heard International
By: José MªIrurzun; Picture courtesy Baluarte, © Iñaki Zaldúa

SpainSpain Wolfgang Amadeus Mozart, Die Zauberflöte: Soloists, Symphony Orchestra of Navarre, Coro Intermezzo, Robert Reimer (conductor), El Baluarte, Pamplona 4.5.2012 (JMI)

Direction: Joan Font (Les Comediants)
Sets and Costumes: Joan Guillén
Lighting: Albert Faura

After a few performances at Barcelona’s Liceu last week (S&H review here) Joan Font’s production of the Magic Flute has moved on to Pamplona where it awaited a different conductor, orchestra, and chorus.

I found Robert Reimer more compelling, more interesting than Pablo Gonzalez in Barcelona. His tempi were alive (he shaved some 14 minutes of the score compared to Gonzales) and had a better rhythm than to it. The occasional lack of coordination between stage and pit was understandable, given that the singers had to adapt to a different conductor within a week. The orchestra matched the decent standard set by Barcelona’s.

Susanna Phillips repeated her excellent Pamina with her rendering of the aria “ach, ich fühl’s” as the evening’s true highlight, just as Joan Martin-Royo made the most of Papageno again. Antonio Lozano was the new Tamino and he offered an attractive voice, although with a proclivity toward open sounds. Erika Miklósa improved on her performance of the Queen of the Night and Georg Zeppenfeld was the remarkable Sarastro he always is.

Cast:

Pamina: Susanna Phillips
Tamino: Antonio Lozano
Papageno: Joan Martín-Royo
Queen of the Night: Erika Miklosa
Sarastro: Georg Zeppenfeld
Papagena: Ruth Rosique
Speaker: Tobias Schabel
Three Ladies: Maria Hinojosa, Anna Tobella and Inés Moraleda
Monostatos: Vincenç Esteve

Le Cid at Valencia

From Seen and Heard International
By:José Mª Irurzun

Soloists, Valencia Community Orchestra, Valencia Regional Government Chorus, Plácido Domingo (conductor), Palau de les Arts, Valencia, 24.4.2012 (JMI)

Concert Version

With Jules Massenet’s Le Cid, Valencia’s Palau de Les arts ends its regular season with yet another concert version of an opera. There have been already three and there will two more at the Festival del Mediterráneo in June… a sign of how hard the crisis has hit opera houses in Spain.

Le Cid has not been seen in Spain for about 14 years, when it was offered at Seville with Placido Domingo as the protagonist. Based on the work by Corneille, it was premiered in Paris in 1885 and it belongs to the genre of Grand Opera, ballet included. Chronologically, it sits between the two masterworks by Massenet, Manon and Werther, but its musical quality is not comparable. Of the 15 Massenet operas I had the opportunity to see, Le Cid is decidedly below the average. There is too much Oom pah pah with only a few inspired pages between, including the famous arias “Pleurez, mes yeux”, “O Souverain”, and the duet of Rodrigue and Chimène that closes act III. Throughout the rest of the opera: much ado about nothing. If we add to this the need for two singers with true spinto-dramatic voices, it’s no wonder that Le Cid is so rarely performed.

Plácido Domingo has a close relationship with the Palau de Les Arts where he has been a regular since its inauguration in 2006. The school for young voices carries his name. Valencia even invites him regularly to conduct. No wonder that ‘Superman’ has made his debut as Athanael here and that he’ll be the protagonist of I Due Foscari next year. In this Le Cid we had Placido Domingo involved as a conductor, although is well known that his baton is not at the same level as his voice. Massenet’s operas are quite complex and they require conductors very familiar with the works of the French composer. The reading by Maestro Domingo was efficient, but the orchestra was too loud and not attentive to the nuances that are so important in Massenet’s operas. From the overture on it was obvious what his reading would be like. The audience at Valencia is used to hear operas under great conductors, and they have received triumphal receptions. Tellingly, that did not happen to Mr. Domingo on his final bow, despite his popularity. The Orchestra, meanwhile, performed at its usual excellent level.

Jorge De Leon gave life to Rodrigue, Le Cid and he showed a fine voice, well suited to the demands of the character. De Leon has everything needed for the part vocally, but he is short of expressiveness, always had his eyes on the score, the much anticipated aria “O Souverain” fell emotionally short, and his French leaves something to be desired.

Ukrainian soprano Liudmila Monastyrska handled the character of Chimène deftly. Again: at least in pure vocal terms. She is a true spinto-dramatic soprano with a wide middle range and high notes that are both beautiful and powerful. The bottom range, though audible, is not as good. Her Chimène was powerful and also able to produce excellent soft hues. She was good in her aria “Pleurez, mes yeux”, though slightly uninvolved. Her French is unintelligible.

The other characters have much less importance than the two protagonists. Bass Hao Jiang Tian was a fine Don Diegue, Le Cid’s father. Felipe Bou was serviceable as Count Gormaz. Micaëla Oeste (L’Infante) offered good looks and a small voice. James Rutherford had a pleasant voice as the King, but little projection.

Cast:

Rodrigue: Jorge De León
Chimène: Liudmila Monastyrska
Don Diegue: Hao Jiang Tian
Comte Gormas: Felipe Bou
L’Infante: Micaëla Oeste
Le Roi: James Rutherford
Saint Jacques: Josep Miquel Ramón

An Interview with Charles Roe, Artistic Director of The University of Arizona Opera Theater

The following Q and A interview with Charles Roe is in anticipation of the Opera Theater’s upcoming productions of Giacomo Puccini’s One Act Operas, Suor Angelica and Gianni Schicchi* from April 12 through April 15 at Crowder Hall on the University of Arizona’s campus.

L/O: When was the last time you presented Suor Angelica and Gianni Schicchi? Why have you decided to present them again?

CR: We last presented the operas in 2001. We decided to present them again because both are good ensemble shows that offer opportunities for more singers, especially our younger ones. Also, we have an excellent Schicchi (Seth Kershisnik) and two fine Angelicas ( Jenny Beauregard and Yunnie Park.)

L/O: What differences are there as far as production values between then and now? Who is your set designer?

CR: We have better resources now than we did in 2001, thanks to Amelia Rieman’s generous gift. Also, the School of Theater has been very cooperative in loaning us properties from their stock. As per the past seven operas, Sally Day is our Set Designer. She has an excellent background, having already designed for Arizona Opera, and has great imagination.

L/O: In general, how do the students in the casts manage orchestral rehearsals, blocking the operas and language study at the same time?

CR: The students have many demands on them, including singing in choirs, taking courses, preparing recitals, and trying to stay healthy. We rehearse ten hours per week (two hours daily) and only rehearse in the evening during dress rehearsals.

L/O: How do you help the students build their vocal interpretations? Once in rehearsal, do you allow them any leeway in how they do this?

CR: I try to give the singing/actors some leeway until I see that they need some guidance. However, as you mention, learning the notes and rhythms along with singing in a foreign language takes some time (usually three – four weeks at the beginning of each semester). Then I begin the blocking (staging) and give them the basic movements and let them try to find motivations — that I have already thought out — to justify their actions.

L/O: With four performances, what roles have you double-cast? What do you listen and look for when they are auditioning?

CR: Of course, we have double-cast Angelica. It is a very demanding role, both vocally and dramatically. Since we need each available male, none of the male parts in Schicchi are doubled. We did double-cast Lauretta, Ciesca and Nella, since we have enough sopranos to do this. Also, there are a few singers singing in both one-acts.

L/O: How about their work ethic? In a recent interview, soprano Natalie Dessay said she is giving up opera for a couple of years. She found that some singers were late for rehearsals and some didn’t show up. How do you work with students who need guidance in this area?

CR: If a singer is late or absent without excuse, I explain how they are hurting the rest of the cast and explain that they are creating an impression that will hurt them in future casting, as well as, in any future recommendations. (more…)