San Diego Opera presented a lavish traditional production of Tannhäuser, on January 26, 2008. This production was a longtime dream of Artistic Director, Ian Campbell after seeing a production at the Met in 1977. So, these sets were based on that very Met production (which was in turn based on a Vienna production), by Günther Schneider-Siemessen. They were faithfully reproduced at San Diego Opera Scenic Studio by newcomer James Mulder in conjunction with the original designer. The background projections were reconfigured and enhanced copies of the original production in Vienna. The scenery took a little bit longer to configure between scenes, expanding the intermissions to 25 minutes and giving the audience the much needed leg stretching opportunities often needed in a Wagner opera. The company used the original costumes from the Met, designed by Patricia Zipprodt. Still looking fresh and colorful despite their age, 184 costumes in all. Wigs and make up were designed by Steven W. Bryant for the huge cast. Effective lighting was designed by Marie Barrett. Former Intendent from Cologne Opera, Michael Hampe, provided dynamic direction and staging, particularly in the large scenes that involved a chorus of 79 singers and 8 supernumeraries. Choreography of the 15 dancers was created by Nicola Bowie. Every detail of this production was seen to carefully and the result was astonishing. All of this careful work would have been for naught, had Mr. Campbell not brought together only finest group of singers.

The title role was sung by gifted heldentenor Robert Gambill in his debut with the company. His command of this role was masterful and exciting, and his singing was no less pleasing. He hit just the right notes, both in singing and acting. The ensemble "Zu dir wall ich, mein Jesus Christ" was as joyful as the "Rom Erzählung" was tortured. The chaste maiden Elisabeth was played by Finnish soprano Camilla Nylund in a triumphant American and San Diego Opera debut. She is a convincing actress as well as a gifted singer, with an expressive and warm voice. She portrayed her innocent and faithful character with touching sensitivity. Her "Allmächt'ge Jungfrau" was rich in pathos and the "Dich theure Halle" was exuberant and uplifting. Venus was played by Petra Lang in another company debut, who showed complete command of this role, her duet "Dir tone Lob! Die Wunder sei'n gepriesen" with Gambill was fraught with intensity. She was as alluring as a Venus should be, with an penetrating intensity in her voice that was quite affecting. Important to note that the delicate dichotomy of the two female characters in the storyline, was emphasized fully. Wagner wrote these two women to be drastically different in presentation and voicing and we saw the full impact of that with these performers.

Russel Braun returned to San Diego to sing Wolfram for the very first time, of particular interest, as his father Victor Braun is well known as Wolfram on the famous recording conducted by Sir George Solti. He did the role and his father justice, singing well and giving Wolfram a distinctive, dramatic edge. German bass Reinhard Hagen, returned as Landgraf Hermann. Hagen is versatile and consistently excellent with a delicious, deep voice coupled with distinguished good looks. He is very popular with San Diego audiences and will be returning for several other roles this season. Simeon Esper played Heinrich der Scheiber, Andrew Greenan was Biterolf, both making their company debuts. Scott Sikon as Reinmar von Zweter, and Martin Zysset as Walter von der Vogelweide returned to the company. These gentlemen all brought considerable skill to these supporting roles. The cast was rounded out by a charming performance by the returning Laura Portune as the Shepherd Boy.

All this was overseen by Maestro Gabor Ötvös, who was also making his company debut. He conducted with brio, and utmost consideration for the singers. Not once was a melodic line of theirs overpowered by an overzealous instrumentalists. The orchestra sounded lovely throughout the performance. The overture was deftly handled and a brilliant indication of what was to come for the evening. Finally, special kudos have to go to Chorus Master Timothy Todd Simmons for inspiring the San Diego Opera chorus far past their regular excellence, and into the realm of magnificence.

I took a friend with me, it was his first Wagner opera. I could not have chosen a better performance with which to introduce him to the joys of this composer. The rest of the audience must have agreed, because rather than waiting for the principles to arrive on stage for their curtain calls, they jumped to their feet enthusiastically at the closing of the final curtain. In my years of attending San Diego Opera, I have often noted that their choices of singing talent is often extraordinary. In this realization of the long cherished dream of their Artistic Director, it was no less than stunning.

One can only hope that Wagner might be satisfied with this production.


--Reviewed by Dawn Southwick
 

Related links -  San Diego Opera
                         A pilgrim's prayer answered- the making of San Diego Opera's Tannhäuser
 

	Feb 16  MARIA STUARDA
CAST: Ermonela Jaho (Mary), Kate Aldrich (Queen Elizabeth), Yeghishe Manucharian (Robert Dudley, Earl of Leicester), Reinhard Hagen (Talbot), Andrew Greenan (Lord Cecil), Susana Poretsky (Anna).  Edoardo Müller, conductor. Andrew Sinclair, director.  Ming Cho Lee, set designer. Timothy Todd Simmons, chorus master.
H ow this opera grows in the affections. And how it strengthens the larger, ever-deepening appreciation not merely of Donizetti's work but of operatic conventions as such.  The frequently derided formula of Italian opera (the set pieces, aria-and-cabaletta and so forth) can increasingly be a source of pleasure and drama, thanks in part to the exhilaration arising out of the composer's skill in suiting the conventions to his dramatic and musical purposes. Elizabeth's first aria, meditatively hopeful yet anxious, fits the lyric-cantabile form; then the arrival of Talbot and Cecil with their opposing influences provokes the intensified turbulence of irresolution that makes dramatic sense out of the cabaletta.  This is also true with with the duets and ensembles: they look like conventional set-pieces, but the established form and specific material have been so well fitted, and musical inspirations so great, that opera becomes liberated, rather than restricted, by its specific set of formulae and conventions.    San Diego Opera’s new staging of Maria Stuarda fortifies such notions of opera as drama.  All the same, this is a bel canto opera in which much of the drama comes through the singing.  It helps that San Diego Opera assembled a strong cast:  Ermonela Jaho and Kate Aldrich as the two dueling Tudor Queens – Mary and Elizabeth, respectively.  Albanian soprano Ermonela Jaho was flown in at the eleventh hour to replace the indisposed Angela Gilbert, but no apologies need be made to the patrons, for Jaho proved more than capable of holding her own. Though Mary is clearly the prima donna, the part of Elizabeth requires an artist of comparable stature.  Mezzo-soprano Kate Aldrich’s strong spinto tone was well matched by her dramatic authority, and both were seconded by a technique that was as impressive in the firmness of her quiet first aria as in the flourishes and embellishments of its ensuing cabaletta. The contrast with Jaho’s slender, girlish tone was exactly right and helped to shape the audience's feelings towards her situation.  Jaho, too, gave vent to the fighting spirit (the real historical Mary was a high-strung fighter), and her denunciation of the ''royal bastard'' had intense animosity and venom. But perhaps the most touching moments were quieter ones, such as the delicately sighing trills and decorations of the ''murmuring breezes'' aria in Act 2 and the beautifully simple lines of the prayer for the soul of Darnley.  Vocally, one blemish must be noted – a detectable quick vibrato that often rendered pitches suspect and trills indistinct.  Her singing style reminded me of Cecilia Gasdia, an Italian soprano popular in bel canto operas in the1990’s who has largely disappeared.  Jaho is a fine actress and I hope she will last a lot longer. The remainder of the cast sang well, but with much less distinction. Armenian tenor Yeghishe Manucharyan, as Robert Dudley, sang with a lot of passion but little understanding of the Italian style. English bass-baritone Andrew Greenan as Cecil made little impression until his duettino with Elizabeth. German bass Reinhard Hagen made a firm-voiced dull old stick out of Talbot The San Diego Opera Chorus was excellent, both musically and dramatically. Orchestral playing was fine too. Edoardo Müller’s direction was both urgent and flexible, complementing the singers but never overpowering them. Maestro Müller is a singer’s conductor in the best sense of the term. Ming Cho Lee's period sets are elegant and classically beautiful, with Ron Vodicka's evocative lighting and Ingeborg Bernerth's gorgeous costumes enhancing them enormously.  The stage direction by Andrew Sinclair was unobstrusive and well-paced. --Reviewed by Truman C. Wang Additional performances will be on February 19, 22, 24 with soprano Angela Gilbert as Mary. Radio broadcast on KPBS is scheduled for March 2, 2008. Related links -  San Diego Opera

avallaria Rusticana was Mascagni's first work with a libretto by his friends Giovanni Targioni-Tozzetti and Guido Menasci, based on a popular short story by Giovanni Verga of the same name. It was written for a contest for one act operas sponsored by the publishing house of Sozongno and only completed on the day it was to be submitted. It was chosen as one of three operas to be performed, the others being Vincenzo Ferroni's Rudello and Niccola Spinelli's Labilia. It premiered on May 17, 1890 at the Teatro Costanzi in Rome, with Mascagni taking 40 curtain calls. He went on to write 14 other operas, but none has had the enduring popularity of his first.

Pagliacci by Ruggero Leoncavallo was first performed in Milan at the Teatro dal Verme on May 21, 1892 conducted by a young Arturo Toscanini. The composer wrote the libretto for the two act opera himself, and was accused of plagiarism. He insisted that the story was based on a true event that he had seen as a child, during a commedia dell’arte performance. Leoncavallo had not had success with many of his works previous to this one, but this one was a resounding success. It was the very first opera was the very first to be recorded, and also the first to be filmed. It is by far the best known of his works and is the 14th most performed opera in North America.

These operas, while they did not begin life together, are often paired together for performance. Both had been paired previously with Gluck's Orfeo ed Euridice but on December 22nd, 1893, the pair were performed together. Being well suited both stylistically and dramatically to each other, it seemed to be a good fit. Current trends have brought us Pagliacci as a stand alone work, but it's really not long enough to carry an entire evening.

San Diego opera opened their run of these beloved pieces on March 22, 2008, after giving them a twenty-nine year hiatus from the local audience. This is a new production with picturesque scenery by John Coyne who brought us the lovely Simon Boccanegra set in 2005, with lighting and effects designed by Michael Whitfield. The sets were a good portrayals of the very different village squares, with workable spaces for movement. The costumes for the principals were designed by Ed Kotanen. This production was meticulously directed by Lofti Mansouri, who had a lot to do, since both of them have stories that move rather quickly.  

If you cannot think of any reason to go and see this production, you need to consider this very important one. Argentinian tenor, José Cura. This is his U.S. debut as the sad clown Canio, which he has sung worldwide to justifiable acclaim. I am not sure that I have enough adjectives at hand to describe his mastery of this role, the thrilling richness, the resounding timbre of his voice and the point perfect acting he delivered on the opening night. There was not one flaw, nor misstep in his performance and he brought admirable complexity to this part. Often what we hear of a singer performing live is dependent on more than just the voice alone. Looks, stage presence, or prior publicity can color what we perceive. Closing the eyes and listening to just his voice, was nothing short of stunning. When presented with the entire package, his tall, dark good looks, the passion that he gave to this performance was magical. His delivery of the Vesti la giubba reminds us of why this relatively short aria is so well loved. Never have violent, abusive tendencies been so smolderingly sexy.

Our Nedda was no slouch either. Elizabeth Futral took an admirable turn as the tragic object of his obsessive love. She deftly negotiated this difficult role, showing a good command of both the comedic and dramatic aspects. The "Stridono lassu" was simply lovely. One could understand Canio's devotion to her. Her tragic love interest Silvio was given a good turn by Scott Hendricks. Irish Baritone Bruno Caproni in his company debut sang both Tonio and Alfio and showed a marked ability to handle very different roles. His opening prologue "Si può?... Si può?... Signore! Signori! ... Un nido di memorie" was charming, while the vengeful spirit of Tonio was well borne out in the rest of the play. His Alfio in the first half allowed us to hear what a fine voice he possesses. Beppe was a charming surprise in his "O Colombina". We had already heard Simeon Esper earlier this season as Heinrich der Schreiber in Tannhäuser, but not like this. Such a lovely, flexible tenor voice with an interesting winsome quality.
 

Formerly a member of the San Diego Opera Ensemble, Carter Scott sang Santuzza. She was very well cast in this production, and vocally adept in this role. The "Voi lo sapete, o mamma" was beautifully performed. She portrayed well the love for Turridu and her realization that informing Alfio may have been a tragic choice was a very moving scene. Judith Christin has returned to San Diego as Mamma Lucia and that warm mezzo voice was a pleasant treat to hear. Sarah Castle returned as adulterous Lola, and sang quite well. San Diego favorite Richard Leech, while he seemed a bit nervous in the opening aria, gave us a competent turn as the roguish Turiddu. He is at a good place vocally for this part and the "Ah! lo vedi, che hai tu detto?" with Santuzza showed a nice compatibility between the voices.  

San Diego's principle guest conductor Edoardo Müller conducted the orchestra brilliantly, giving these lush romantic scores the passion and longing they deserve. Both of these operas have extensive chorus sections, and in San Diego, the chorus never fails to please their audience, they sound good, they look good and their director Timothy Todd Simmons is to be commended for both of these offerings.

I drive and travel a lot to see the opera and it is easy to get jaded at times. I see a lot that is good and a lot that is just alright. Performances like this, remind me of why I love the opera. Many of the themes in both of these works, are familiar to us, having been used in movies, or in some cases cartoons or commercials. If you are not familiar with opera, this is really a good pair to see, the stories move along and are full of the poignant and catchy melodies. If you know someone who has never been to an opera, this would be an excellent first choice to introduce them to it. This is traditional opera, in the grand style of the golden age of the art and should not be missed.

Additional performances will be on March 22, 25, 28, 30 and April 2.  Call (619) 533-7000 for tickets and information, or visit San Diego Opera online at www.sdopera.com





 

San Diego Opera is offering this for five performances and is the fourth opera of their season. The performance that I attended on April 15th, 2008, was magnificent in scope with scenery by  Michael Yeargan and lighting with hot colors that accurately reflected the warm climes was created by Chris Rynne. This particular production was last seen in San Diego in 2001 with colorful costumes by Peter Hall, and elaborate wigs and makeup designed by Steven W. Bryant. It was ably directed by the returning Garnett Bruce.  San Diego Opera has been giving their audiences a peek at what happens behind the curtain all season by making open scene changes during the intermission, for those who wish to remain behind and watch the busy workers laboring to assemble the scenery for the upcoming acts and it's been interesting to watch.

American soprano Indra Thomas makes her company debut as the tragic heroine in this Aida, with a gorgeous tone and a massive voice. She seems to have a natural affinity for the musicality of Verdi, it is easy to see why she is considered a specialist in this composer’s works. She possesses breathtaking control and warm timbre in singing this very difficult and demanding role. Her acting was affecting and she was a pleasure to behold in the bright and flowing costumes. Her rival, the notorious Amneris, was performed by Bulgarian mezzo soprano Mariana Pentcheva whom we saw last as the Princess Eboli in Don Carlo in 2004. This is a challenging role and to her credit she did not phone this one in. Her lower register has an almost terrifying power that carried into the back of the house. It's a winsome and and silky voice when it wants to be, yet has an electrifying intensity when called for. The women have a nice blend of voices, evidenced in “Fu la sorte dell' armi a' tuoi funesta”. The third member of this tragic love triangle was Uraguayan tenor Carlo Ventre, whom we last saw him as Gabriele in Simon Boccanegra in 2005. This is a nicely balanced voice, with excellent consistency across his entire range with a masculine timbre that goes well with his dark, handsome looks. So intense were all three of their performances in Act III, it was heart wrenching to watch as it developed. When we got to the conclusion at Act IV, the contrast between the lovers blissfully resigning themselves to death, and Amneris who finally realized the consequences of her actions in the trio, “Immenso Ftha” was palpable. Her last note was filled with pathos as the opera drew to a close.
 

Ventre as Radames, Act 3 Aida

Triumphant Scene, Act 3 Aida

The supporting cast did not miss a beat. San Diego favorite German Bass Reinhard Hagen gave us a somber and authoritative Ramfis, the duet with Radames “Si, corre voce I'Etiope ardisca”, held promise of an exciting evening ahead. Hagen delivers a fine performance every time. The Brazilian Bass we have seen in Norabad before in Pearl Fishers, José Gallisa, made a resplendent King with a booming bass voice. His enemy Amonasro was well sung and portrayed by American Bass Mark Rucker, whom we first saw singing that role here in 1996. Rucker had to do double duty here, when he got off the plane he had to step in for an ailing Bruno Caponi in the previous production the very next night. Tenor Kenneth Morris sang the Messenger, and while we did not get to see her onstage, mezzo Priti Gandhi made her presence known as the High Priestess, the lovely voice carrying well, even from the wings.

To my great joy, the Act II Gloria all'Egitto, ad Iside was taken at a lively tempo, giving it a dynamic flair. The horns were bright and portrayed the majesty of that scene quite nicely. The staging was effective, and the dancers, choreographed by Kenneth Von Heidecke gave stirring visual interest. Maestro Valéry Ryvkin at the baton presided over the performance with brio. All of this was accented by the amazing San Diego Opera Chorus, credit going to the acting chorus master and principal pianist Dorothy Randall.

I feel the need to mention yet again, that Artistic Director/ Manager Ian Campbell makes a point of bringing some of the finest singers to his company that it has been my pleasure to hear on a regular basis. Not quite sure how he does it, but I am constantly surprised by his ability to cast voices. They are always well suited to their roles and make the performances seem effortless. Bravo.

-Reviewed by Dawn Southwick 

Additional performances will be on April 20, 23.  Call (619) 533-7000 for tickets and information, or visit San Diego Opera online at www.sdopera.com

This exotic offering on May 3rd, 2008 brought the beginning of the end of the San Diego Opera International Season. It has certainly been an exciting season and we do hate to see it end. They last produced this opera in 2004, and it was a popular sell out then and this season should be no different. Andrew Sinclair returned to direct this production, along with lighting designer Ron Vodicka. It's a whimsical and warm set, with bright fanciful costumes designed by Zandra Rhodes and is fun to look at. These sets have been on the road ever since, making an appearance at other companies around the country. Adding to this, was eye catching choreography created by John Malashock.

However this best part of this production is the singing. Handsome American Tenor Carlos Castronovo in his SD Opera debut, sang an incomparable Nadir that evening. Castronovo began his career as a resident artist in nearby Los Angeles and has improved steadily ever  since. The touching barcarole, "Je crois entendre encore", was sung with such technical perfection and longing, his ending notes had the audience at the edge of their seats. He has a rich, smooth tone that is seamless across his entire register. The beloved duet "Au fond du Temple Saint", is surely the most captivating duet for male voices in the repertoire, and it was luminously performed with American Baritone Malcolm MacKenzie singing Zurga. We last saw him as Escamillo in Carmen in 2006. MacKenzie sang confidently throughout, and despite the rumor he was recovering from being sick, no one would have noticed. While Zurga does not get the girl, he does deliver most of the drama in this opera and MacKenzie was more than up to that task, singing the "O Nadir, tendr'ami" with a soul searing intensity. The virgin priestess Leïla that both these men loved, was portrayed beautifully by Russian soprano Ekaterina Siurina, in both a company and role debut. The chemistry between she and Nadir, was palpable, and it should be, since they are newlyweds! The "O Dieu Brahma" was delivered with chaste maidenly tones, like tinkling bells. This is a such a sweet voice, with good intonation and flexibility. The cast was rounded out by Brazilian bass José Gallisa returning from 2004, as Nourabad the high priest. We just saw him a few weeks ago in their production of Aida and once again his dark and booming bass was a treat for the ears.

As usual, the San Diego Opera Chorus showed itself to be one of the best opera choruses around, showcasing a strong tenor section in this piece. Their acting Chorus Master Dorothy Randall, prepared them well for this production and when they came to the front of the stage to sing their angry reaction to the illicit lovers, they were properly threatening. It's a very nice blend they have going there with a group of very strong singers. All of this was competently presided over by San Diego's resident conductor, Karen Keltner, who always gives such a delicate, yet deft style to the music of the French composers. She is a singer's conductor, always making sure that the balance is perfect. The orchestra heeded her well, and sounded divine on opening night.  Classical Voice is lucky enough to be bringing you an interview with Ms. Keltner, as soon as the season is over.

You can also check our website for the press release of next season's offerings. San Diego has given us an unprecedented three year advance schedule with their productions and casts, so you can plan ahead.

There are three performances remaining, May 6, 9, and 11, the latter is a matinee. If you want to go, you need to hurry on this one. Call (619) 533-7000 for tickets and information, or visit San Diego Opera online at www.sdopera.com
 

-Reviewed by Dawn Southwick