As
2019 draws to an end here is my run-down of my top opera (live and online),
musical and theater experiences of 2019. I will begin with live opera
performances. For me 2019 was a terrific year for live performances and I had
some of the most memorable operatic experiences of my life. This year I am
going to put the performances in the order in which I saw them. There were so
many terrific performances I am not sure I can order them. Also, please forgive
my overuse of superlatives. This is after all a list of my favorites.
1.
Pelleas et Melisande (Met 2019) – Last January I braved the weather to go to New York
(via Delaware) to see Adrianna Lecouvrer and Pelleas. While I enjoyed Adrianna,
Pelleas was a transcendent experience. I had been studying the score and I read
the play. The best thing about this production was the Music Director Designate
on the podium. No matter what you think of him in Italian and German repertoire
his French repertoire is magnificent. The orchestra was glorious and the cast
excellent – mostly. Kyle Ketelson as Golaud, Isabel Leonard as Melisande and F.
Furlanetto as the Arkel were all excellent. As much as I like Paul Appleby I
felt that this role was not a good fit for him. The role is for a high baritone
and it lay just too low for Paul. But that was the only concern, otherwise it
was wonderful.
Isabel Leonard and Paul Appleby in the Met's "Pelleas et Melisande"
2.
Norma (Winter Opera) – I have to mention my local companies. I have now seen Norma at the
Met and in Chicago and while certainly Winter Opera doesn’t have the resources
to put into the productions that the bigger theaters have, nevertheless they
always do a wonderful job. Their set designer is an absolute a genius and
creates some of the most effective, workable and beautiful sets I have ever
seen in a small house. Norma is not an easy opera to sing, but they did a great
job and frankly the leads were excellent and sang beautifully, and the tenor
was especially good. (I have not had good luck with the Polliones I have seen
elsewhere.) So bravo Winter Opera for another great year of opera.
Curtain Calls - Winter Opera of St. Louis' production of "Norma"
3.
Moby Dick (Chicago Opera Theater) My friend Kathleen Crisp has been raving about Moby
Dick for as long as I have known her (on FB). As she has shared her experiences
I have really wanted to see the opera. So finally it was produced at Chicago
Opera Theater. Now I had heard it was “revised” and thought that meant it would
be a reduced orchestration, but it was not. But this was a different production
than the original that was produced in San Francisco which is the one that
Kathleen had seen. The opera is a masterpiece. Who would have ever thought that
Melville’s Moby Dick could be turned into an effective opera? The performance
and production were excellent - great cast with a strong orchestra. The only
caveat I have is that the whale chase sequence in this 2nd
production is not quite as thrilling and effective as in the 1st
production. When I watched the video afterwards I was frankly surprised they
changed that. But otherwise it was excellent.
Greenhorn and Queequeg in the Crow's Nest - Moby Dick, COT
The Company - Moby Dick, COT
4.
Frau ohne Schatten (Wienerstaatsoper). After a long and (at times) tedious tour to Turkey
and Greece where I managed to injure myself rather badly and where the Greek
tour guide was so terrible that I started to distance myself from the tour as
much as I could, I flew from Athens to Vienna for a week with my wife,
Christine. We had a lovely time. We saw Magic Flute at the Volksoper and at the
Wienerstaatsoper I attended Die Frau ohne Schatten, Manon and a special concert
with Stephanie Haím, Patricia Petibon and Tim Mead. (That baroque concert was
magnificent BTW but this is an essay about opera and theater.) Christine and I
attended Manon together and it was really fun to be there in that place, but
the seats were terribly uncomfortable and the production is really poor in many
respects and I didn’t feel the leads were that strong – actually the Lescaut
was the best on stage. But Frau was amazing. This was a new production,
conducted by Christian Thielemann. And the orchestra was glorious, they played
the hell out of that score and Thielemann was incredible. Is there another
conductor who can conduct this piece as effectively? I’m not sure there is. The
cast included Camilla Nylund (Empress), Stephan Gould (Emperor), Nina Stemme
(Dyer’s Wife), Wolfgang Koch (Barak) and last but certainly not least Evelyn
Herzlitzius as the Nurse. This cast was incredible and for me personally
Herzlitzius was the stand-out in a cast filled with stand-outs. Also, the
remainder of the cast and chorus were all excellent – especially the Spirit
Messenger. Often in Vienna the chorus is just sort of shuffled on stage and
they are often totally disengaged – Manon is a great example. But in the new
production they were woven into the fabric of the opera and the result was
magnificent. Really this performance is one of my all time most memorable and
moving operatic experiences. I had always had an ambivalent attitude towards
this opera and I also had completely misunderstood the exceptionally
complicated plot. I saw it at Lyric Chicago years ago with Deborah Voigt and it
had no impact, which was not their fault – I was not in a place to appreciate
it. But I have studied this opera in depth since and have come to feel it is
perhaps Strauss’ great masterpiece and it is certainly Hugo von Hoffmansthal’s
great masterpiece. Yes, I love Rosenkavalier, but there is a depth and
profundity about Frau that really surpasses Rosenkavalier in my view. I hear
the Met is going to do it in the next couple years. I would like to be there
for it.
Wienerstaatsoper on the Ringstrasse
The view inside the Wienerstaatsoper from my box.
Intermission at the Wienerstaatsoper
Curtain calls for "Die Frau ohne Schatten" Wienerstaatsoper - Nine Stemme in front as the Dyer's Wife
Christine and I at the Wienerstaatsoper
5.
Wozzeck (Des Moines Metro Opera) – When I was a senior at New England Conservatory I
played English Horn for a performance of Wozzeck with Gunther Schuller
conducting. It was a semi-staged production. It was one of the most
transformational musical experiences of my life. Initially at the time (I was
what 22? And not terribly experienced) I found it very off putting and I found the
EH part itself to be terribly difficult rhythmically. But I got out my
metronome and practiced and practiced until I got it. By the end I had grown to
really, well, I won’t say love it – but it got inside of me. Since that time I
had never actually seen a live performance of the opera. I had watched several
productions online though. So when DMMO announced they would be producing this
opera I was determined to attend and I was not disappointed. So the first
weekend in July I drove to Des Moines where I also saw Boheme and Candide,
which were fine (I have seen Candide now 3 times in the last two years and
frankly I don’t really like it that much – sorry Joanna). But this Wozzeck was
amazing. Wozzeck was played by the incredible Michael Mayes (who deserves a Met
debut!) and the cast included Sara Gartland as Marie, Corey Bix as the Captain
and Zachery James as the Doctor. They were all excellent. Corey Trahan as The
Fool was also excellent and despite his very brief moment it was quite
memorable. Zachery James might begin to think I am following him as I have now
seen him perform live 6 times in 2 years! But he is terrific as a singer and as
an actor (as those of us who saw him in Ahknaken will attest)! The orchestra
was amazingly good and the production was outstanding. It is almost
indescribable. But the theater itself is relatively small, so there is an
intimacy at DMMO which is lacking in just about every other venue I can think
of – even OTSL which is fairly intimate too. This intimacy made the experience
of this work quite a moving experience. Frankly, we could almost see the blood
on Wozzeck’s hands.
Zachary James as the Doctor and Michael Mayes as Wozzeck at Des Moines Metro Opera
6.
The Love for Three Oranges (Philadelphia) This is an odd piece. It was composed for Lyric Opera
Chicago by Prokofiev while he was living in the US. The march is particularly
well known. The plot is rather absurd and the cast is huge and includes various
Commedia del’Arte characters. The venue was the old Academy of Music in
Philadelphia and it has seen better days. Our initial seats, which I bought
online, were great if you were about 4’! We could simply not even get ourselves
into the seats. So 10 minutes before curtain I had to run down to the box
office and find new seats. They got them for us and they were fine. But not as
good as the original seats. But despite that excitement I loved the
performance. And despite the wackiness of the plot the cast was excellent –
Zachery James was in this cast also as the sadistic cook! Other members of the
cast will be recognizable to Met fans: Scott Conner as the King of Clubs, Will
Liverman as Pantaloon, Barry Banks as Truffaldino, Wendy Byrn Harmer as Fata Morgana.
The only comment I will make is that this director tried to make the plot
somehow ALSO representative of Prokofiev’s life journey. This simply did not
work and considering how much else is in this plot it just was a distraction
that just added to the confusion. By the way, I loved the bad guys – Fata Morgana,
Leander the Prime Minister and the Chelio, the Wizard who have one of the
cleverest scenes in all of opera – the card game where Chelio, the Wizard
looses the soul of the King of Clubs to the evil Fata Morgana.
Zachary James as the Cook in The Love for Three Oranges in Philadelphia
Wendy Bryn Harmer as Fata Morgana in the Love for Three Oranges in Philadelphia
Barry Banks as Truffaldino with two of the opened oranges in The Love for Three Oranges in Philadelphia
7.
Luisa Miller (LOC) Apparently Lyric Chicago will be embarking on a Verdi series with
their new music director, Enrique Mazzolla, who conducted this first production
in the series. The cast included Christian Van Horn, Quinn Kelsey, Joseph
Calleja and Solomon Howard but the stand out was the Luisa of Krassimira
Stoyanova – she was stunning! The rest of the cast was excellent and the chorus
was wonderful. Some of the critics complained about the production but frankly
I loved it and thought it was very effective. I will be looking forward to more
in this Verdi series. I want to add that I also came back on Sunday afternoon
for Barber which was great. Marianne Crebassa was a revelation, Alessandro
Corbelli was magnificent (as usual), Lawrence Brownlee and Adam Plachetka both excellent.
But unbeknownst to me that day was the day of the Chicago marathon. LOC might
have warned us and given us some advice. It was a nightmare getting to the theater
and I almost gave up, drove home and skipped the opera. Had I known I would not
have driven to Chicago and taken the train.
Christain Van Horn as the Count and Quinn Kelsey as the Miller in Luisa Miller, Lyric Opera of Chicago
8.
Elektra (LOC) This
performance of Elektra at Lyric Chicago was breathtaking. Nina Stemme was
terrific. Powerful piece and a powerful production!
Program Cover - Elektra, Lyric Opera of Chicago
9.
The Dragon of Wantley (Haymarket
Opera Chicago). This early 18th century opera is loosely based
on a popular story of the time. The music is by Fredereic Lampe (who was
actually a German living in London) and the Haymarket Baroque Opera company
used a period orchestra with two friends of mine, Meg Owens Brown and Geoffrey
Burgess playing baroque oboe! What can I say the opera was a riot. It was a
great production and the whole thing was very funny. The best moment was when
the two women (who, of course, are both vying for the affections of the twit
who is the tenor) have a catfight. Not physically – vocally! It was a very
funny and exceptionally well performed.
The Dragon of Wantley Publicity Photo
10. The Golden
Cockerel (Dallas) So I flew to
Chicago on Tuesday, took a cab into the city for Dragon then stayed by Midway
Airport and woke up early the next morning only to discover that my flight to
Dallas was cancelled and there was snow on the ground. Amazingly I got on
another flight and managed to get to Dallas not much later than I had
originally expected. It was exhausting, and I retuned home the next day (though
I wish I had decided to stay in Dallas a couple extra days for Magic Flute and
a Baroque Opera). But it was all worth it. The Rimsky-Korsakov Coq D’Or was
brilliant. Years ago, as a young English Horn tudent at NEC we played the
orchestral suite from this opera and I fell in love with the music. I have
desperately wanted to see this opera ever since. I was not disappointed. If
Frau was my #1 of the year, and Akhnaten was #2 – This would be #3 and they are
all very close. This profound fairy tale pulls no punches when it comes to
addressing the corruption of power and the stupidity of war. Barry Banks played
the Wizard (a role he was played often throughout his career) and he was
magnificent. The rest of the cast was great. King Dodon, Nikolay Didenko and
General Polkan, Kevin Burdette were excellent and the Olga Pudova was a last
minute replacement for the Queen of Shemakha. As I understand it she had been
originally engaged to sing Queen of the Night, but had agreed to step into
Golden Cockeral at the last minute. And Jeni Houser, who sang the role of
Cockerel (from off-stage, my only disappointment) added the role of the QofN. They
were terrific. Frankly, I didn’t want it to end. I loved this opera very much
and would love to see some Rimsky at the Met.
The Queen of Shemakha and King Dodon from Le Coq D'Or, Dallas Opera
The Golden Cockerel with King Dodon from The Golden Cockerel, Dallas Opera
11. Akhnaten
(Met) This was a totally incredible
experience. I saw it first on HD and then I travelled to NYC and saw it live.
It was magnificent. The work is a masterpiece. This production is a
masterpiece. The cast was incredible, led by Anthony Costello and Zachary
James. The orchestra was also outstanding. What was particularly remarkable was
how I felt they managed to evoke the spirit of Ancient Egypt in this
production. This wasn’t a western story set in Egyptian sets and costumes (like
Aida) – this was a uniquely ancient story. I found it profound and deeply
moving. I could spend some time talking about the philosophical and theological
issues raised, but I will suffice it to say simply that I think it is incorrect
to suggest that an Ancient King managed to discover monotheism, which is
somehow “right” (since polytheism is “wrong!”) Ahknaten’s religious revisions
were simply not monotheistic, they were henotheistic, that is he didn’t deny
the existence of other gods, bu rather he promoted the worship of only one god,
the sun god Aten as the supreme god. He never denied the existence of other
gods. Also, the efforts to link Akhnaten to Moses look to me like one of those
circus performers who can tie himself up in all kinds of knots. I don’t buy it.
I don’t think Moses was monotheistic either actually and I think the idea that
there is any connection between the two is totally specious. But nevertheless I felt transported to the
City of the Sun. The juggling and the images all created a unique and effective
opera experience.
Queen Nefertiti, Ahknaten, Queen Tye from Ahknaten, The Met
Zachary James as the Scribe with Anthony Roth Costello as Ahknaten, The Met
12. The Queen of
Spades (Met) – This is my last one. I
first saw this production on PBS years ago with Domingo, Dima and Elizabeth
Söderström, who for me will always be the Old Countess. Her performance was
magnificent and Dima was incredible. Has anyone ever sung that aria as
beautifully as he did? That said, I love this production and enjoyed this
performance very, very much. I thought Yusif was excellent as Gherman and Lise
Davidsen, making her Met debut in this role, was incredible as Lisa. I also really
enjoyed Paul Groves and Raymond Aceto as the officers and Alexy Markov as
Tomsky. It was a great performance. One suggestion to the Met – really, 3:00 in
the afternoon is too late to start a matinee. Why not 2:00? That would be
better for out of towners like me.
Count Tomsky with The Old Countess in The Queen of Spades, The Met
Lise Davidsen as Lisa with Prince Yeletsky in the Queen of Spades, The Met
Honorable Mention
Fire Shut Up In My Bones (and Coronation of Poppea) (OTSL) – I love Opera Theater of St. Louis since I have
started attending their performances. And of the 4 operas they performed I
would say that Fire Shut Up In My Bones was for me the best. Based on an
autobiography by NY Times editorial writer Charles Blow, the story is quite
powerful. I especially loved the character of Destiny/Loneliness who doubles as
Greta, the girlfriend, who – well I won’t spoil it since it is deservedly bound
for the Met. The cast was incredible. Julia Bullock who played
Destiny/Loneliness/Greta and Davón Tines, Charles, were both terrific. The rest
of the cast were also very strong especially Karen Slack as the mother and the
child singer/actor who played the young Charles. This performance is another in
the series of wonderful performances of new operas that is a particular
commitment of OTSL. I fully support this and have had some wonderful experiences
of new works at OTSL.
Julia Bullock as Destiny/Loneliness/Greta in Fire Shut Up In My Bones at Opera Theater St. Louis
Davón Ines and Karen Slack in Fire Shut Up In My Bones at Opera Theater St. Louis
The company also performed Nozze and Rigoletto which were
fine; and finally their 4th opera was Monteverdi’s the Coronation of
Poppea. This was a really interesting production and I was really pleased to
see that they used period musicians, on stage no less. But two things marred
the experience for me – 1. The cuts. Ok, they were trying to shorten the opera
and streamline and the plot, which
admittedly wanders all over at times. But some of those scenes (and
characters!) add a lot to the opera and I really missed them. 2. The Nero, Brenton
Ryan, is a tenor and a really good character tenor who has sung at the Met
(Spoletta) and who sang the Dancing Master at Santa Fe the year before. I like
him a lot. He is a terrific singer and actor. And maybe if I didn’t already
know the opera I might have enjoyed his performance better but the role is for
a counter-tenor or a mezzo. Having it sung by a tenor sounded wrong to me
throughout the opera. Everything was an octave lower. Maybe I am being picky
but it really bothered me. The rest of the cast was terrific, especially Emily
Fons as Poppea. Also, this production killed off almost all the other
characters at the end – this is not what is written. But it worked and it
certainly gave a different meaning on that final love duet, where one imagines
Poppea wondering what the hell she has gotten herself into with this
psychopath.
Glory Denied (Union Ave.) I have to comment about this opera. It is a relatively
new opera by Tom Cipullo and has played in a number of venues around the
country, to some acclaim. Certainly as an opera it works and the music is
effective and at times beautiful – the scena “Welcome Home” for the older Jim Thompson is chilling and I
found the cello/ piano section near the end to be quite beautiful. There was a
lot of hype around Union Ave. Opera’s production. It was announced that a
counselor had been available to the cast during rehearsals and that she would
be available during the performances if anyone was triggered and needed to
talk. I respect all of this. I have been critical of Union Ave in the past for
failing to link with community resources in ways that would enhance the
performances. But, I have to say while I affirm it is terrible that the Jim
Thompson was kept as a Vietnamese POW for so many years and I understand the
disorientation he experiences when he finally does come home and finds a
totally different world than the one he left. He also finds that everyone has
moved from his life had moved on without him, including his wife and family. I
recognize this was incredibly painful for him and don’t want to minimize it.
But, I have a problem with the way the libretto scapegoated Alyce the wife. In
an effort to assign some blame this libretto (and maybe the book, I don’t know)
turns her into the bad guy in this situation. I felt that was totally and
completely unfair and frankly it pissed me off. This telling of this real event and experience
completely minimized the pain and struggle and suffering of Alyce. There should
have been some discussion about this issue in my view. From what I have been
able to ascertain from studying a but after seeing the opera, Thompson had been
a difficult and abusive husband before he went to Vietnam, and he continued to
be a difficult and abusive husband when
he returned. For her part the young Alyce is depicted as the one dimensional
50’s stereotype “perfect housewife” and the older Alyce is depicted as totally
selfish. I don’t buy it. And while the brilliant Gina Galati who played the
role of the older Alyce, brought a deep humanity and some sympathy for her, I
think she was working against the libretto there. For me this work was
misogynistic, and because it is such a new opera I have a harder time forgiving
this.
Semele (Philly)
– I also saw Semele in Philly. It was excellent. I loved the production. The
use of projections was incredible. And the women in particular Amanda Forsythe
and Daniella Mack (who played Juno and Ino,
the sister!) were both incredible. There were several amazing scenes –
including the mirror scene for poor Semele and the scene where Juno takes over
the body of the sister (and the dancer double, Lindsay Matheis, was terrific).
The one negative – they did not use a period orchestra.
Amanda Forsythe in Semele in Philadelphia
Nozze (Met) –
What a wonderful production and performance – Luca Pisaroni, Adam Plachetka,
Susannah Phillips as a divine Contessa and Nadine Sierra were all stunning.
Live Stream in Theater and online live streams
I will put these together in
an effort to shorten this. And I will say less about these.
1.
Forza del Destino (ROH in Theater) – Jonas Kaufmann, Ludovic Tezier, Anna Netrebko,
Furuccio Furlanetto, Alessandro Corbelli, Robert Lloyd – could you ask for a
better cast? This was a stunning performance and a wonderful production. This
is production the most effective Forza I have seen.
Jonas Kauffmann and Ludovic Tezier in Forza Del Destino at the Royal Opera in London
Jonas Kauffmann and Anna Netrebko in Forza Del Destino at the Royal Opera in London
2.
Die Walküre (Met HD in Theater) – The LePage production. I enjoyed it and thought it
worked great. And I agree with Nigel, this cast was much stronger than the
original cast – especially Christine Goerke.
3.
Akhnaten (Met HD – in Theater) – See above. I thought the HD was really well done.
True you can’t see everything that you can in the theater and choices had to be
made. But it was exceptionally well done. Bravo to the camera crew.
4.
Tannhauser (Bayreuth) – I loved this production. I thought it was really
effective and brought this story to life in a unique and contemporary way. The
cast was excellent – Stephen Gould as Tannhauser, and especially Lise Davidsen
as Elizabeth but I also really loved Ekaterina Gubanova as Venus.
Stephen Gould and Ekaterina Gubanova in Tannhasuer, Bayreuth
Lise Davidsen in Tannhauser, Bayreuth
5.
Cendrillon (Glyndebourne) – I have seen the Pelly (Met production) now a bunch
of times and am just a little tired of it. This was not the Pelly production.
This production was refreshingly different. One might say it was a regie
production, but it worked beautifully. I loved the cast and I loved Kate
Lindsey especially and how that character was drawn as a female maid and as
Prince Charmant. It added a really interesting dimension to make the Prince
sexually ambivalent. I hope this production makes it to the USA.
Kate Lindsay as A Maid/Prince Charmant along with the Wicked Stepsisters in Cedrillon, Glyndebourne
6.
Judith Triumphans (Dutch National – OV) – Opera Vision is a website that provides recordings
of a variety of operas from around the world. This Dutch production of the
Vivaldi oratorio Judith Triumphans was absolutely terrific. The singing, the
acting, the production and the orchestra were all wonderful. I fell in love
with this score. Vivaldi uses a whole bunch of unusual instruments include the
Chalumeaux, the Viola d’Amore, the Musette and others.
Judith conspiring with her confidant in Judith Triumphans, Dutch National Opera
7.
Idomeneo (Salzburg) – Yet another in the Mozart opera cycle at Salzburg with Peter Sellars
directing. I generally find some sympathy with Count Orsini-Rosenberg in the
play “Amadeus” when he complains that Idomeneo is “too many notes.” I found the
Met production terribly tedious. But this production really worked for me. It
was beautifully sung – especially by Russell Thomas.
8.
Anthropocene (Scottish National - OV) – This is a new opera. It is not an easy opera to sit
through. The musical language is difficult. And the plot is uncomfortable.
Basically a team of 21st century scientists discover the frozen body
of a prehistoric sacrificial victim. When they unthaw her she is restored to
life. Meanwhile the crew are fracturing. There is serious theft that leads to
murder, which then leads to an final bloody sacrifice. What I found so
fascinating about this work was how it explored the issue of sacrifice. We find
the idea of human sacrifice revolting, and we use it to justify the violent
conversion of pagans, who we assume all practiced it (they didn’t!). But by the
end of this opera one wonders if the ancients were not perhaps more just in
their approach than we moderns who do not hesitate to sacrifice millions for
the sake of power and wealth – particularly as it relates to climate change.
The rich and powerful simply don’t give a damn about the millions who are
suffering as a result of our dependency on fossil fuels. Who then is really
civilized? The ones who lovingly sacrifice a young woman for the sake of the
community in the spring after lovingly preparing her for this honor; or the
ones who discard millions of poor and suffering and who cage thousands of
children at the border?
Discovery in Anthropocene, Scottish National Opera
9.
Paria (Polish – OV) – Who is a Pariah? Who is to be included and excluded? This opera was
composed by the great Polish composer Moniuszko. How do we choose who is to be
included and who is excluded? Who gets to be a part of the powerful and
controlling 1% and who is untouchable? And who or what decides? Is it skin
color, ethnic background, religious traditions, sexual orientation. In this
opera the carefully constructed structure that separates the population into
the included and the excluded (the Pariahs) comes crashing down when it is
revealed to be all a lie. This is true for us as well. It is all a lie. No one
deserves to be excluded or turned into a pariah because of any external
characteristics. The pariahs are the violent ones who victimize others.
10.
The Tale of Tsar Saltane (Brussels) – This production was really fascinating and dealt
with the issue of autism. It was a regie production which again I felt worked
brilliantly. In an effort to connect with this boy the mother brings a favorite
story to life. Lots of issues are dealt with. I loved this production. It made
me cry.
The Tale of Tsar Sultane in Brussels - Olga Peretynko
11.
Midsummer Night’s Dream (Vienna) – This beautiful production is a new production at
the WSO. Counter-tenor Lawrence Zazzo was a stand-out as Oberon; Erin Morely
was her usual wonderful coloratura self as Titania; Peter Rose reprised his
signature Bottom. It was excellent. Brilliantly conducted by Simone Young.
Lawrence Zazzo as Oberon in A Midsummer Night's Dream, Vienna State Opera
12.
Les Indes Galantes (Paris) – This regie production was quite effective and
moving. Especially the final dance-off. The themes were not so different from
“Paria” in that it dealt with issues of being different and inclusion /
exclusion.
13.
Tales of Hoffmann (Brussels) – I really enjoyed this production. I love how with
every (European) Hoffmann there is always something different musically since
Offenbach didn’t finish and didn’t even put the opera together and left boxes
of music. This assembly of the opera was as good as any I have seen. I liked
Eric Cutler and Patricia Petibon a lot, but the stand outs were Michele Loser
as Nicklausse and Gabor Bretz as the Villains.
Willard White, Gabor Bretz and Patricia Pettibon in The Tales of Hoffmann, Brussels
14.
The Snow Queen (Munich) – I just saw this Sunday, Dec. 29. When a child is
abused, or suffers trauma this brings death to the fragile spirit. How do we
return these children to life? If they are frozen inside of themselves because
of a trauma or abuse how can they be thawed? What are we doing to thousands of
children we have illegally and immorally incarcerated at our southern border?
This opera brings these issues to the front. Barbara Hannigan is amazing. This
was deeply profound and moving.
Barbara Hannigan in The Snow Queen, Munich
Honorable Mention
Don Giovanni (Paris) – I loved this production. It is destined to come to the Met.
Rigoletto (Bregenz) – I thought this production was one of the most effective I have ever
seen. It worked very well for me.
Orpheus in the Underworld (Salzburg) – A regie production, but a good one that worked
wonderfully. If I spoke German I would have enjoyed it more, but as it was it
was terrific. Kathryn Lewek was great.
Halka (Theater an der Wien) – Also by Moniuszko. This opera was on Opera Vision,
but then it was performed in a totally different production with Piotr Beczala,
Tomas Konieczny and Corrine Winters. It was a wonderful production and
performance.
Die Ferne Klang (OV) – This opera by Shrecker from Sweden is an incredible opera. What a
beautiful score.
There are so many more I
could mention.
Musicals and Theater:
I am going to separate
Shakespeare out from everything else as this year was a momentous year for me
in regard to Shakespeare.
Theater and Musicals
I
saw the Band’s Visit and Mean Girls again and really enjoyed
them.
Taylor Louderman as Regina George in Mean Girls
The Band's Visit
Miss Saigon (Touring Co
at the Fox)
– I had never seen this. It was interesting to see it. It will never be a
favorite.
Come From Away
(Broadway)
– this is a great show. I loved the traditional Newfoundland score.
Dear Evan Hansen
(Touring Co. at the Fox) – A very moving show.
***Hadestown (Broadway)
– This
is the best musical for 2019 for me. This is such an excellent show. The score
is wonderful. The cast is incredible (André de Shields is magnificent as the
psychopomp Hermés). I loved the way the myths of Persephone/Hades and Orpheus/Eurydice
have been woven together and reinterpreted. A brilliant show.
Hades and Persephone in Hadestown
The Fates in Hadestown
André de Shields (center) as Hermés with Euridyce and Orpheus in Hadestown
Angels in America 1
& 2 (St. Louis Rep) – Sarah, my daughter was in part 1 in college playing Harper Pitt. Consequently
I can say that I have seen part 1 a lot. But I had never seen part 2 live. Though
I had seen it in the film and in the London production (live stream). This was
a terrific production and a wonderful performance which addresses important
issues of sexuality, health care access and homophobia.
Curtain Calls for Angels in America, St. Louis Repertory Theater
Biloxi Blues (Clayton
Community Theater) – Terrific production of an iconic play
Soldier’s Tale (Clayton
Community Theater) – Another terrific production of another iconic play.
District Merchant (The
New Jewish Theater of St. Louis) – This play is an updating and a retelling of
the Shakespeare’s “Merchant of Venice.”
But the author is not content to simply tell the same story. He makes
some serious alterations. I found it to be a really excellent play and it dealt
profoundly and intensely with issues of racism and anti-semitism.
Curtain Calls for District Merchants, New Jewish Theater
All’s Well that End’s
Well & Macbeth – Oregon Shakespeare Festival – In 2019 I finally
accomplished one of my life goals. I have now seen a live production of the
entire Shakespearean canon – plus Edward III and Cardenio (a reconstructed lost
play). I will admit that my live experience with Henry VI parts 1-3 was in a very
long evening that put all three plays (parts 1, 2 and 3) together with some
major cuts – even so it was 4 and a half almost 5 hours long – so I am counting
it! Also my experience with Two Gents from Verona was so long ago I can’t
really remember it, that is the only one I do not remember (and in my mind I
might have it mixed up with Comedy of Errors since the plots are fairly
similar). So, that is on my list of Shakespeare I want to revisit. Still with
All’s Well, I completed the canon. And what a great production! The venue was
not great – it was at the high school, unfortunately. But the production itself
was excellent and the acting was terrific. Adapting this production to the high
school did not really hurt All’s Well I think. However, Macbeth was an
uncomfortable fit with this venue. This was not the best Macbeth I have ever
seen. It was good, but the production was staged for a different theater and
trying to do it in the high school was simply awkward when they tried to use
the entire hall. I will say that after how many Macbeths (a lot, I have seen
this play a lot and it is one of my favorites) this is the only production of
this play I have ever seen that actually included the dubious inserted Hekate
scene. I’m glad to have seen it but it didn’t work at all. Written by Thomas
Middleton and inserted into one of the Folios in order to capitalize on the
popularity of the three Weird Sisters the scene makes no sense at all and adds
nothing to the play. But I have seen it! Anyway, I would return to OSF, but I
would like to see a play in the main outdoor theater next time.
All's Well That Ends Well, Oregon Shakespeare Festival
Macbeth, Oregon Shakespeare Festival
Other
Shakespeare I saw this past year: Illinois
Shakespeare Festival produced a very odd version of “Julius Caesar” which
was entitled “Caesar!” It was
updated, no problem there; and used gender blind casting, also no problem with
me. Act 1 kept pretty close to the Shakespeare plot, but Act 2 fell apart
completely. First, they cut up Antony’s famous speech and gave various parts to
other characters. It ruined the speech and robbed it of its power. Instead it
became a vehicle for petty quarrels. And then they cut the Battle of Philippi
from act 2 completely. Well, how could they finish the play without the Battle
since that occupies pretty much most of the act? Good question. The result was
that it fell apart and didn’t work. I love ISF and the actor who played Caesar
was a high school friend of my son’s and he was terrific. Actually as long as
he (Caesar) was alive the play was working great. The minute he was dead it
fell apart. Maybe there is a moral there!
Love’s Labors Lost – St
Louis Shakespeare Festival – STLSF produced LLL and it was fine. The play itself is not a
favorite of mine. But it is always a lovely evening in the Glen at Forrest Park
so I enjoyed it anyway.
Troilus & Cressida –
RSC Live Stream – I have seen this play once before at Chicago Shakespeare in a
brilliant production directed by the incomparable Barbara Gaines. Of course,
this was the RSC so they did a great job. But something was lacking. Not sure
what it was. Part of the problem was that the Ulysses had such a heavy accent
(Welsh I think) that I simply could not understand her and she is a key
character. Other members of the cast were quite good.
A Midsummer’s Night’s Dream – the Bridge Theater – This is one of the
most interesting and creative productions I have ever seen of MsND. The main
thing is that they switched Oberon and Titania so that Oberon spoke Titania’s
lines and vice versa. It made for a fascinating production of the play. All the
gender assumptions went out the window and the rather misogynistic device of
tricking the Queen Titania and making her fall in love with the Ass (Bottom
“translated”) now had Oberon falling in love with Bottom, who was male! That
changed the dynamic completely! It was really terrific. I loved this production
and would buy the DVD if it is made available. Highly recommended.
Bottom (asleep), as Titania removes the spell from Oberon's eyes - Bridge Theater, London (NTLive)
Oberon and Titania, Bridge Theater, London (NTLive)
Bottom ("Translated") - Bridge Theater, London (NTLive)
Measure for Measure, RSC – This is perhaps one
of my favorite plays. It is a powerful play and one that could not be more
timely. Just think of Angelo’s chilling
line to Isabel after he has violently assaulted her and she threatens to expose
him: “Who will believe thee Isabel?” We have shrugged our shoulders and looked
the other way as one sexual predator after another in appointed to high office
(the Supreme Court) and elected to high political office (president) and no one
seems to care as the victims are re-victimized, just like Isabel was. It is
disgusting. This play should be on the docket for every Shakespearean company
in the country IMHO. I have tried to talk STLSF into it and I am happy to say
that ISF has announced it will be performed this coming summer in Bloomington.
This production by the RSC was terrific. The Angelo was appropriately buttoned
up and disgusting. But the Duke was really reprehensible in this production, as
he should be. This character is the enabler – he is us, folks. The ones
who close our eyes and shrug our shoulders and make excuses for the men and
slut-shame the women!
Isabel with the Duke of Vienna in Measure for Measure, RSC (NTLive)
Angelo (center) with Escalus (left) and the Judge in Measure for Measure, RSC (NTLine)
Isabel waiting to meet with her condemned brother Claudio, Measure for Measure, RSC (NTLive)
Much Ado, from Central
Park PBS
– Lastly, I watched on PBS a recording of a production of Much Ado about
Nothing from Central Park last summer. This featured an all black cast and was
really outstanding. The “wars” that the men are returning from are the front
lines of the fight for equality and the play ends there too. It was effective
and the cast were all excellent – especially the Beatrice. If you haven’t seen
this, you should.
Hero and Claudio with the Preacher in the Wedding Scene, Central Park, Much Ado About Nothing, PBS
Lastly, thanks to all
my opera friends for their suggestions and encouragement and for tolerating my
prodigious sharing.
Last
comment:
This
past year my father died, in December (the Thursday before my Met weekend where
I saw Akhnaten, Nozze and Queen of Spades). Dad loved two things in life –
opera and Phillies baseball. The gift I received from my dad was my love of
opera. My brother got the gift of the love of baseball. Dad sang comprimario
tenors roles with the Wilmington Opera Society (now Delaware Opera). My very
first opera ever, when I was around 5, was Die Fledermaus. Dad sang the role of
the incompetent lawyer, Dr. Blind. So when I got back from the trip, now
extended to include his funeral. I watched a production of Fledermaus from
Vienna that was on Opera Vision. This was my small way of honoring and saying
thanks to my dad for the gift of opera.
My Dad as Normanno in Lucia di Lammermore, Wilmington Opera Society (early 70's) -
Incidently this production was my first ever playing in the pit - I subbed for the Dress Rehearsal
My Dad in the chorus for Flying Dutchman sometime in the 80's, Wilmington Opera Society (Delaware Opera)
I wish you all a Happy New Year and much music and opera for the coming year!