COMMANDOpera was researching the new season at the Cleveland Opera and found that Lucia di Lammermoor would be opening the season which begins in May. Most striking within the production was the Lucia whom COMMANDOpera had already been aware of and was watching having heard of her uniqueness in range combined with serious volume. The 28 year old Israeli Soprano,Miss Nili Reimer. COMMANDOpera often profiles Tenor’s and Baritones with a sprinkling of Mezzo Soprano’s, however rarely a soprano of any range. The reason is the distinct rarity of new voices within the vocal range. Miss Riemer owns an extraordinary instrument which easily runs up to A, however the artist is prepared to sing only up to G in public as a matter of good taste. The fashion today one might suggest, is the current use of engaging Lyric Soprano’s with a rather round ‘Russian’ tone with an extension to the upper register to cast in true coloratura roles. COMMANDOpera appreciates the necessity of this when the correct vocal range is not readily available. A true Coloratura owns a natural, unforced golden and crystalline tone in the upper register which any Lyric Soprano regardless of extension cannot manage. This particular coloratura owns a phenomenal vocal instrument which does not arrive all too often at this calibre. When listening to the performance clips offered within this article, note the fullness of tone and velvety quality to each and every register of this artist. Here is Miss Riemer as Rosina from Il Barbiere di Siviglia:
Miss Riemer sings a highly embellished ‘Una voce poco fa’.
COMMANDOpera spoke with Miss Riemer today from Germany where the artist is in Heidleberg and is currently performing the Queen of the Night. This is repertory theatre and the Zauberflote performances are so popular they keep selling out, which means her stay continues to get extended. This Queen of the Night has an alcohol problem which gives Miss Riemer a great deal of pleasure when it comes to playing her. There is always going to be some fresh and interesting nuance which can be found in each performance. COMMANDOpera wonders if this may have something to do with the audience craze for this show. Miss Riemer likened her to an aging Judy Garland who is locked out of seeing her daughter Liza Minelli perform and turns to booze for solace.
Miss Riemer sings ‘O Zittre Nicht’ Heidleberg. 2009.
Miss Riemer holds a Master of Music degree from the State University of New York-Binghamton and is a graduate of the dual-degree program at New England Conservatory of Music and Tufts University, where she earned a Bachelor of Music and a Bachelor of Arts with a concentration in International Relations. The artist has received a number of awards from the Gerda Lissner Foundation, Shoshannah Foundation, Career Bridges, Schubert Club Competition, Altamura-Caruso International Vocal Competition, Queens Opera Competition, and Nebraska district Metropolitan Opera National Council Auditions.
Given that Miss Riemer was currently living in the land of modern update Koncept productions, COMMANDOpera enquired as to her opinion of such updates. Although she would not confess to any particular leanings in any manner, she did make a nascent point. While Miss Riemer feels many works can be updated, it is essential that the full span of the entire work be properly thought out so every air, duet, trio, etc, makes sense. She then postulated on a number of different hypothesis for Lucia which would or would not work and why. Which lead to her own approach to the character of Lucia herself. And oh did COMMANDOpera like what this artist had to say when querying the artist on what newness she would bring to the role. Miss Riemer clearly did not see Lucia as imbalanced even slightly in the first air ‘Regnava’. Rather, she likened her to a happy modern day girl who would be fanatically into say, the Twilight Zone. Excellent opinion and thinking when one considers Lucia is first found with Alice out in the forest discussing strange, almost paranormal matters and occurrences in such vista’s. Given this set up to the character, one can eerily visualise Lucia’s descent into believable madness as such a girl as we would know her today in this scenario would raise an eyebrow at the office. Miss Riemer would not give away more than that however…. Just brilliant.
Miss Riemer sings Olympia’s aria ‘Les Oiseaux dans la charmille’. A virtual homage to Miss Sills.
COMMANDOpera enquired as to what Bellini roles Miss Riemer would be interested in essaying, and Amina stood large. Currently the artist is enjoying the challenges of Mozart and Strauss a great deal, with Donizetti evidenced now and again. Specific Italianate repertoire is coming into range, and Miss Riemer will look more into the Bel Canto works as they become suitable for her vocal instrument. COMMANDOpera was extremely impressed on all levels with what this artist had to say when obliged to speak pointedly on all topics. Miss Riemer has the assuring confidence of an artist who knows distinctly what her vocal instrument can do, and when she intends to do it. If COMMANDOpera were to consider a future dream pairing come true, it would have to be Miss Riemer and Mr. Fabiano appear together in Manon by Massenet.
As an informational venue, COMMANDOpera owns sufficient gravitas to engage top tier artists directly when the moment demands such a necessity. In this instance, COMMANDOpera will be attending the prima of Simon Boccanegra at the Opéra de Montreal on the evening of March 13th at 8 P.M. COMMANDOpera requested the possibility to speak with the highly acclaimed Italian Baritone Mr. Alberto Gazale, however at the same time one was also afforded the alternate opportunity to speak with Maestro Keri-Lynn Wilson. That particular decision was of a duration of 1 millisecond to conclude. Maestro Wilson is the interview of a lifetime for any journalist involved with the Arts today. Regardless of the significant amount of advance preparation, one did get flustered at one point and noted the Austrian Mr. Gustav Mahler incorrectly as German. COMMANDOpera was chastened immediately for the error.
Maestro Wilson in Moscow discusses Tchaikovsky at the Bolshoi. January 2010 (The Maestro has spent the last five years learning Russian which accounts for her complete fluency in the language).
The Maestro who is 42 grew up in Winnipeg Canada. The coincidence was not lost on COMMANDOpera that Mr. Gregory Dahl, the Baritone just profiled on COMMANDOpera also resided in Winnipeg at precisely the same period. One could not help but note the coincidence to the Maestro who was quite amused by it all. Maestro Wilson grew up in a rather musical family: her grandfather was a singer and her grandmother a pianist. The Maestro’s father was the conductor of the Winnipeg Youth Orchestra, although at the time this was not a part of her aspirations. She spoke of recently watching her grandfather on an old Canadian Broadcasting Corporation video which had been downloaded onto YouTube. His name would be Kerr Wilson and here is one of the ‘Happyland’ series.
For those of you who do not know who Maestro Wilson is musically this is her professional biography:
“KERI-LYNN WILSON divides her conducting career between symphonic orchestras and opera productions. In recent seasons she conducted the Los Angeles Philharmonic Orchestra, Montreal Symphony Orchestra, Toronto Symphony Orchestra, St. Paul Chamber Orchestra, Houston Symphony Orchestra, the Gewandhaus Orchestra Leipzig, Mariinsky Orchestra St. Petersburg, Aachen Symphony, Oviedo Symphony Orchestra, the Orchestra of Teatro Real in Madrid, as well as the Bavarian State Orchestra for the Munich Opera Festival 2009, among others.
Highlights from opera include “Tosca”, “Madama Butterfly”, “La Traviata” at the Vienna Staatsopera; “La Bohème,” “La Traviata”, “Madama Butterfly” and a new production of „Lucia di Lammermoor“ with Anna Netrebkoin the title role with the Kirov Opera (Mariinsky Theater); “Turandot,” “Madama Butterfly,” “Tosca” and “La Bohème” at The Puccini Festival in Torre del Lago; “Il Barbiere di Siviglia” in Florence; “Otello” and “Tosca” in Nice; “Aida” in Rome; “Lucia di Lammermoor” in Torino; “La Bohème” and “Anna Bolena” in Bilbao; “Tosca,” “Madama Butterfly” and “Lucia” at The Arena di Verona; “Madama Butterfly” in Leipzig; “Rigoletto” in Parma, “Don Pasquale” in Palermo; “La Bohème” and “Tosca” at the Bolshoi Opera; “Tosca” at the Oslo Opera, “La Rondine” at the Los Angeles Opera, “La Traviata” at the Bavarian State Opera in Munich, “La Bohème” at the Israeli Opera in Tel Aviv, “Falstaff” at the Juilliard Opera, “L’Elisir d’Amore” at the Bari Opera, “Turandot” at the Washington National Opera and “La Fanciulla del West“ at the L’Opéra de Montréal.
Ms. Wilson’s engagements in the season 2009/10 include “Cavalleria Rusticana” at the Teatro Geco Romano in Taormina (Sicilia), „Manon Lescaut“ at the George EnescuFestival with the Bucharest National Opera, „Tosca“ at the Vienna Staats Opera, „Rigoletto“ at the Teatro Massimo in Palermo, “Boris Godunow” at the Polish National Opera in Warsaw and „Simon Boccanegra“ at the L’Opéra de Montréal. Concerts are planned with Anna Netrebko and l’Orchestre National d’Ile deFrance in Paris, withthe Zagreb Philharmonics, at the Spring Festival in Prague, as well as a Verdi-Gala with Leo Nucci and the Orchestra Teatro Regio di Parma at the Bilbao Opera.
Maestro Wilson with Miss Netrebko.
A native of Winnipeg, Canada, Ms. Wilson studied the flute, piano and violin. She holds masters degrees from the Juilliard School of Music in both conducting and flute performance. As a flutist she studied with the renowned Julius Baker and made her Carnegie Recital Hall debut at the age of 21. As a conductor she was awarded a Bruno Walter Fellowship and studied under Otto-Werner Mueller. She made her conducting debut with the National Arts Center Orchestra of Canada at the age of 23. While still in school, she was an assistant to Claudio Abbado at the Salzburg Festival and a conducting fellow at the Tanglewood Music Center. She was the Associate Conductor of the Dallas Symphony from 1994-98. Ms. Wilson recorded “Danzón”, a CD of Latin American compositions for Dorian Records, with the Simón Bolivar Symphony Orchestra of Venezuela.”
Maestro Wilson conducts the work ‘Bataque’ with The Simon Bolivar Orchestra of Venezuela.
What COMMANDOpera does find most amusing is the elephant in the room which is not mentioned. Maestro Wilson is married to Mr. Peter Gelb who is the General Director of the Metropolitan Opera. The Maestro is internationally respected to such a degree, and therefore as with all top rank artistic biographies, such extraneous information is not relevant. COMMANDOpera advises readers of the reality only to illuminate how things are done at the very top tier in such matters.
COMMANDOpera enquired as to what brought the Maestro to conduct orchestra’s as opposed to being a part of as a flautist. Well the question answered itself. At some point the musician in Maestro Wilson wanted something more out of the music than one line here or there in a score of any particular work. The idea of conducting the works of Mahler and Puccini held great fascination to the then flautist. This required another four years at the Julliard to complete studies as a conductor. No small feat to even gain entrance such is the elite and rigorous character of the school; hundreds apply each year, yet only two gain entry. One did wonder as to what it was like for an individual who had been a part of an orchestra to begin mounting podiums overseeing all. The Maestro was very clear: mutual respect is essential but is earned. While the art of conducting itself is never easy, as time passes the musical interpretation of a work does indeed become easier. The Maestro reflected that as she herself passed the years, relating to the other individuals who form a part of an orchestra became an additional pleasure as a conductor.
COMMANDOpera then enquired as to what period of Opera was of great interest to the Maestro. The not surprising answer was that it wasn’t particularly Bel Canto, but rather the more Romantic works and composers. Although most opera’s rise from Bel Canto, working within the Bel Canto repertoire, the music is more often than not defined centrally towards shaping the vocal line with little emphasis on the orchestral itself. In the Romantic works, there is a significantly more impressive symphonic line which has an opportunity to rise on itself. The Simon Boccanegra which the Maestro is conducting for the first time is an example of this delineation. We then began a discussion on Verdi whom the Maestro finds created some of the most exquisite vocal lines which are nothing short of genius. The Maestro spoke of how she would go back to a Verdi score she may not have looked at in two or five or ten years and find something new to address at each instance. AHHH but this is not to speak of plots. When the Maestro began to speak of her her love affair with musically lush works, she consonantly almost guffawed at the incomprehensible and trivial plot to Simon Boccanegra which made no sense in numerous places. COMMANDOpera enquired as to whether she found it similar in this manner to the notorious plot of Il Trovatore. An unqualified yes and worse. I liked Maestro Keri-Lynn Wilson very much at that moment. The Maestro and I discussed the amazing talent which is Mr. Alberto Gazale (she corrected my un Italian pronunciation) whom she has worked with before in Italy. The Maestro indicated the role was a perfect fit for him as it was like an Otello for the baritone vocal instrument. We managed a few more sentences, but at this point it was time for the Maestro (who was at the airport) to board her plane. There were hurried ‘thank-you’s’ and ‘great fun’ and then it was over.
Indeed it was great fun. In under five seconds one appreciated the magnitude, range and depth and razor sharpness of this woman’s mind. COMMANDOpera knew it was a singular moment when one had to be at the very top of one’s game for it to be a rewarding experience for both individuals. COMMANDOpera is more than ever looking forward to this particular prima at the Opéra de Montreal. Top tier excellence at every turn.
COMMANDOpera first encountered Mr. Gregory Dahl whilst researching the upcoming Lucia di Lammermoor at the Vancouver Opera. Mr. Dahl will be starring in this Vancouver/San Francisco co production with the white hot tenor Mr. Michael Fabiano as Edgardo and Miss Eglise Gutiérrez as Lucia. COMMANDOpera will be in attendance at the prima of this particular performance. One could not help but be alarmed at the extremely muscular visage of this baritone which insisted advanced research be undertaken to find out more on this artist. It’s one thing to maintain an extraordinary appearance but what about the vocal instrument which is paramount to COMMANDOpera. Upon looking in on Mr. Dahl’s website , we were gifted with a video of a concert performance in which Mr. Dahl essays the air from Rigoletto; ‘Cortigiani vil razza dannata’. In 1972/1973 Miss Maria Callas gave a series of history making Master Classes at the Julliard in New York, of perhaps her most interesting work was on this particular air. The baritone at the Julliard is of no consequence, however from that moment going forward when Miss Callas laid down preciscely what was expected from this air, the rubicon was defined. For years one has searched in vain for an artist to utter these first opening declamations (which in the opinion of COMMANDOpera are rivalled in opera only by ‘Guidici ad Anna… Guidici!’) with the intent so sagely laid out by Miss Callas. At long last the words of Miss Callas have been fulfilled. COMMANDOpera presents a portion of this particular Master Class followed directly by Mr. Dahl’s acquisition of the air.
Mr. Dahl continues his rise to prominence among baritones of his generation with performances notable for richness of characterization and a remarkable vocal authority. After studying at the university of Manitoba, The Banff centre for the Arts, and the University of Toronto opera division, Mr. Dahl first came to attention of operaphiles as Francis Chancy in the World Premiere of James Rolfe’s BEATRICE CHANCY. The artist and has since been hailed in such roles as DON GIOVANNI (Edmonton Opera/Pacific Opera Victoria), Germont in LA TRAVIATA (Opera Lyra Ottawa), Sharpless in MADAMA BUTTERFLY (Vancouver Opera), Ford in FALSTAFF (Opera Lyra Ottawa), Malatesta in DON PASQUALE (Opera Ontario) and Belcore in L’ELISIR D’AMORE (Manitoba Opera). In another world premiere performance, he impressed international audiences with his creation of Charlie in Calgary Opera’s production of Estacio’s FILUMENA, a role he reprised during the 05/06 season for the Edmonton Opera. His Edmonton FILUMENA was filmed for release in the DVD format and joins BEATRICE CHANCY on his growing list of operas-on-film. Mr. Dahl’s 2009-2010 saw the artists debuts the roles of GIANNI SCHICCHI and Tonio in I PAGLIACCI with the L’Opera de Montreal.
Mr. Dahl as Jokanaan Opera Theatre St. Louis, June 2009.
The number of roles in Mr. Dahl’s repertoire continues to expand an all fronts which pleases COMMANDOpera greatly. Nick Shadow, Iago, Escamillo, Tonio, Gianni Schicci, Jokanaan, Zurga, Musiklehrer, Balaga, Rigoletto, and on and on.. COMMANDOpera asked the energetic baritone what else he was working. Oh there was more indeed, Mr. Dahl has a great fondness for the character Verdian roles within his vocal range. Interesting that an artist with matinee idol looks prefers to get his teeth into where the serious action and talent is required, but after listening to the ‘Cortigiani’ only the most difficult repertoire seemed suitable to the Canadian baritone. In the next video offering Mr. Dahl sings Scrapia’s ‘Te Deum’. Although this is a concert air, Scarpia is a role which Mr. Dahl is currently working to bring into his repertoire.
COMMANDOpera enjoyed the conversations with Mr. Dahl which went over a period of four days given the artists schedule. At the end of it all and with copious notes in hand, COMMANDOpera could not remove intellectually from the perfection of Mr. Dahl’s art. The pristine legato, agility, range, colouring, are almost to breath taking to maintain one’s composure. Mr. Dahl arrives to us with an instrument which has had time to marinate correctly: precisely the way one enjoys the baritone vocal range. After speaking with colleagues, the impressions beyond the voice were framed. Across the board his peers consider Mr. Dahl to be a great dramatic actor, complimenting his phenomenal voice. COMMANDOpera might add that while colleagues in Opera are generous, this went much further than that; they meant it. Mr. Dahl is off to London in a few days which he would not discuss, however COMMANDOpera suspects something is rather interesting in the works. This artist is on the radar of COMMANDOpera. One warrants Mr. Gregory Dahl will make for some rather interesting reading in the months to come at this venue.
COMMANDOpera a few weeks back, had a discussion with a colleague on the challenges faced when writing closely on Opera. We both felt a specific reality; the more you got to know the artists and institutions on a personal level, the less you could actually discuss in the public domain. Given that COMMANDOpera is an informational venue, this particular concern does not disturb my equilibrium often since the author who writes this venue is a proponent of discretion as readers are quite aware. Arriving from a career which revolved around another art form, this writer is all too personally aware of the travails a top tier artist faces daily. With this direct understanding, COMMANDOpera will always cover the back of any individual artist who determines to essay a direct professional existence within such a milieu. Regardless, it is understood artists within the realm of opera generally keep a close knit circle as to whom they may rely; journalists certainly are generally not accorded favour as the perception is they may have an agenda. Fair enough.
Recently COMMANDOpera was invited to cover a joint production via the arrangements of a minor public relations agency. One was already wary of this agency having endured strange dealings before. On one occasion the agency was acting as a go between for an artist who employed them and COMMANDOpera to conduct an interview around the time of the prima. There were a few emails, then nothing, although the agency insisted they would confirm. COMMANDOpera placed a call before departing to the airport and received voicemail, as the emails sent earlier simply were not responded to. Finally at the after party when speaking with the artist (which oddly the agency knew of this venues attendance) he was aware I was looking to meet but had not heard a word from them subsequently. His brows furrowed when I spoke of the interaction with his ‘people’. In a separate occasion, a soprano was making her debut at the Metropolitan. Given the artist and I are from the same region, I enquired with the agency if they would connect the artist with COMMANDOpera for a profile interview before her debut. ‘Absoloutely’ was the response. COMMANDOpera was asked to submit questions to them, who would forward the text off to the artist to submit answers. Done. I received nothing back. Subsequently, in an email dialogue directly with this artist, COMMANDOpera was advised the questions had never been received in the first place.
At this point one had an idea of what one was dealing with here. Nevertheless when the arrangements were being made to attend this joint production, I had made it clear to this agency COMMANDOpera would like to attend the after party to take photographs with the artists for use on this venue. The agency indicated they would get back to me. During that specific phone conversation, I let them know that since COMMANDOpera enjoyed an ongoing relationship with the junior opera company itself, if they could not manage the invitation, an individual within the opera company would also try. Given this was a joint production between two separate companies, only the senior of the two had jurisdiction for such decisions regarding the after party. Not knowing this at the time, but simply as a matter of courtesy (I had actually called to speak with another department on an unrelated matter), COMMANDOpera was patched through to the publicity manager of this senior company and chatted on the most basic of information. COMMANDOpera had not done business with this individual before and given his rather self important attitude the conversation had zero substance and lasted less then a minute before COMMANDOpera cut the connection.
Finally the day before the performance had arrived and COMMANDOpera still did not know if attendance to the after party would be possible. For those readers who have followed this venue for some time, they would know the critical reason as to why I would need to know. I wear a MASK for all photographs which appear on this venue. Caprice really…. I’m not hard to look at. The point being, if there would be no photographs then I wouldn’t be obliged to carry around an expensive ornate Venetian mask all evening. Here is where the story gets interesting…. Finally the agency has made me aware, I could not attend the after party (perhaps the windbag at the senior theatre did not like being called out for the boor he is in under 60 seconds). Once again I re iterated to them perhaps my connection with the junior company could be able to help. Later that afternoon I recieved the awaited response from my connection, who unbeknownst to COMMANDOpera had obligingly been in contact via email with the agency to discuss the matter. The unfortunate young individual who no doubt was seriously overwrought with their first big event the next day, unthinkingly sent me the complete email correspondance with the agency by mistake. :-) As one has attempted to illustrate the conduct of this agency with COMMANDOpera historically, and thus the way they likely do business across the board as a rule, would readers be surprised to know the agency wasn’t particularly honest or professional in what they wrote? Only a fool might suppose otherwise. As is the discrete way of COMMANDOpera, the actual wording will remain private; regardless of the personal negative inferences this author was subjected to. Although an impressive individual unrelated to these contretemps, subsequently and selflessly took matters in hand to ensure this authors name was added to the after party list, COMMANDOpera could no longer attend in good conscience. Disappointingly, that necessary decision destroyed a unique opportunity for some truly excellent artists to enjoy the global visibility COMMANDOpera affords.
COMMANDOpera writes this article to illuminate for the readers a sliver of what occasionally must be endured by this writer of the art form of Opera. There are indeed so few places to find literate commentary on any of the Arts today. Regardless of having to be confronted with the likes of this ridiculous rinky dink agency occasionally, COMMANDOpera will continue to move in the enlightened circles of opera to bring readers an excellent, ongoing global perspective.
Miss Arianna Zukerman is one of the hardest working soprano’s on the planet. COMMANDOpera met with Miss Zukerman for breakfast yesterday, and for those who are unaware of the obvious, vocal artists work late hours and tend to sleep in. Getting Miss Zukerman to actually agree to a 9:30 A.M. interview (few others would) is testament to her vigorous nature and stamina. Here is what the Washington Post who is known to be miserly in their accolades had to say about Miss Zukerman’s vocal instrument: ”Arianna Zukerman possesses a remarkable voice that combines the range, warmth and facility of a Rossini mezzo with shimmering, round high notes and exquisite pianissimos that would make any soprano jealous.” COMMANDOpera would add more. The technical ability of this artist is astonishing, there is no soprano on the planet today who owns cleaner legato throughout the registers combined with phenomenal agility. In the clip below, Miss Zukerman takes on the difficult Bach air ‘Schafe können, sicher weiden’, which was recorded live in concert.
Miss Zukerman who arrives from a musical family (her mother is a flutist and her father plays the violin) and takes her profession quite seriously. The artist received her Bachelor of Music from the Julliard School of Music, and further studied theatre at Brown University. COMMANDOpera as readers would know, owns a healthy respect for vocal artists who take the time to actually learn how to act and move on stage. Although Miss Zukerman is an Adjunct Professor at Catholic University of America, she herself continues her own vocal studies with the emminent Mr. Conrad Osborne. The early part of this full lyric soprano’s career however, saw the artist in Munich as a member of the Bavarian State Opera Junges Ensemble. Miss Zukerman recalled those days somewhat wistfully as she like any other artist in their early twenties, was searching to find precisely where her vocal instrument properly lay. While not a mezzo voice, the artists instrument exhibited an extremely rich middle range, with the higher registers arriving with very little effort as it was always there. Nevertheless given that reality, Miss Zukerman wisely did not press her vocal instrument which now thankfully comes to us today in the most shimmering tones. We are looking at a vocal instrument mastered in the old school, in the tradition of Miss Leyla Gencer, and Miss Renata Tebaldi.
Miss Zukerman sings Mozarts Requiem. Long Island 2008.
COMMANDOpera had been curious before the interview as to Miss Zukerman’s huge reputation as a chamber musician where she has spent most of her time in recent years. Well, after sitting with the artist one did not really need to ask that particular question; this is an extraordinarily gifted woman intellectually. When a mind such as this exists, the natural path would be to attack the most difficult repertoire around as this is where the challenges for a vocal artist really can be found. For some that would be Lieder. COMMANDOpera could not resist lifting a paragraph from Miss Zukerman’s biography: ”Ms. Zukerman’s extensive concert career includes performances with an impressive group of conductors including Jane Glover with Berkshire Choral Festival, Pinchas Zukerman with National Arts Centre Orchestra and the Baltimore and Pittsburgh Symphony Orchestras, and Marin Alsop with the Colorado Symphony. She recently made her Boston Symphony Orchestra debut under James Levine in Moses und Aron and her Philadelphia Orchestra debut singing Beethoven’s Symphony No. 9 under Rossen Milanov in Philadelphia and Charles Dutoit at the Saratoga Performing Arts Center. Internationally, she has performed Mozart’s Mass in C Minor and Handel’s Solomon under Ivor Bolton with the Israel Philharmonic, Messiah with the English Symphony Orchestra; and Mozart’s Requiem and concert arias as well as Vivaldi’s Gloria with Moscow Chamber Orchestra under Constantine Orbelian. She has performed with Rochester Philharmonic in Libby Larsen’s Notes Slipped Under the Door and Mahler’s Symphony No. 4, and has also appeared with the Seattle, and Jackson Symphony Orchestras, at the Kennedy Center with the Choral Arts Society of Washington, Cathedral Choral Society in Washington, DC, and in multiple appearances at the Savannah Music Festival.”
Miss Zukerman as Aphrodite New York City Opera 2006. Photo credit: Miss Carol Rosegg.
COMMANDOpera thought not to beg and plead with Miss Zukerman to take on more operatic repertoire, however given a vocal instrument of this golden calibre, one was NOT going to pass up such an opportunity. Miss Zukerman was amused as this is what she has begun doing in the last few years. Now that the artist is completely satisfied with the lay of the land vocally, she is actively pursuing the increase of her operatic repertoire. Clearly Miss Zukerman is bringing her interest in taking on challenges as the inspiration for the roles she will essay. Drama being the key essential element to a Zukerman portrayal. Oh one is certain she will throw in a high note here or there, but it will be operatic musical drama of the calibre the opera going public has not witnessed since the period of Miss Callas which will be the focal point. One could only imagine an Anna Bolena derived from the mind of Arianna Zukerman (a role she is interested in taking on!). It was an experience and pleasure like no other to have met Miss Zukerman, as one finally could understand firsthand what all the gushing and commotion surrounding this artist was all about. COMMANDOpera readers will be reading more on this exceptional artist as developments warrant.
Miss Zukerman with Crew Mantle at 10:30 A.M. yesterday.
Mr. Phillip Addis as Tarquinius, The Rape of Lucretia 2006. Photo credit: Mr. David Cooper.
COMMANDOpera did lunch with Mr. Phillip Addis yesterday and you did not.
Mr. Phillip Addis is in Ottawa to appear tonight in the National Arts Center’s Black and White, and annual fundraiser for the National Arts Centre Orchestra and Opera Lyra. The event is also perhaps the most important social political event on the calendar for this capital city. Last year the Prime Minister showed up and played a beatles tune on the piano. The Governor General, the Queen’s Representative in Canada will be in attendance as will every politico of every stripe who is looking to be seen. At least a half dozen opera stars of different vocal ranges will take part in numerous airs, duets, and a sextet. If COMMANDOpera determines to accept the invitation to attend, it will be solely to review the artists and the orchestra.
COMMANDOpera has been aware of Mr. Addis for sometime, given the reviews on this baritone have bordered on positively giddy at every turn, by every reviewer. This artist owns an extraordinary vocal instrument which commands the attention from everyone who hears this artist. Mr. Addis’s career trajectory has begun to engender a great deal of attention from the European houses where the artist will be performing chiefly throughout this year. Here is Mr. Addis in a delightful trio ensemble from Antonio Salieri:
The Little Harlequinade. I Musici de Montreal.
Mr. Addis is a vegetarian, although not one who will say no to either seafood or butter. The 32 year old resident of Toronto who is married with one son, amusingly noted when he would sing ‘Mary had a little lamb’ to his son, he was obliged to sing sotto voce. This requirement gave Mr. Addis excellent training in this technique much to his pleasure (and the little boys ear drums). And speaking of which, pleasure is precisely why he sings in the first place: a trait which makes this baritone a force to be reckoned with. There was not a facet Mr. Addis could think of that he did not like when approaching any of the numerous intricacies required for each role he undertakes. Preparedness is understood to be the strong suit of any great artist, yet there are a good many artists who become decidedly nervous whilst waiting to go on stage regardless, so COMMANDOpera enquired if he was one of their ilk. Mr. Addis smiled broadly and informed me, he has so much adrenaline pumping before the moment of entry, this rather easygoing baritone jumps up and down in the wings: much to the delight of his onstage colleagues.
Mr. Addis ‘Liebenhassen’ Ariadne auf Naxos.
Mr. Addis began the 2009-10 season with his role debut as Belcore in Donizetti’s comic opera L’elisir d’amore with Atlanta Opera. In November, he makes his New York debut as Roderick Usher in Debussy’s The Fall of the House of Usher with Opéra Français de New York before returning to Canada for his role debut as John Brooke in the Canadian premiere of Mark Adamo’s Little Women with Calgary Opera. April 2010 sees Mr. Addis in Toronto as the Count in Mozart’s The Marriage of Figaro with Opera Atelier. He closes out the season with a highlight as makes his Paris debut with l’Opéra Comique in the title role of Pelléas et Mélisande, conducted by Sir John Eliot Gardiner. The role of Pelleas is a highlight Mr. Addis advised COMMANDOpera as it shows his voice to best advantage at this precise moment. COMMANDOpera enquired after the more senior Verdi repertoire. Mr. Addis recalled not being overly impressed with Verdi in his early 20’s finding the composer a wee bit to melodramatic. Nevertheless, as the years have moved forward the artist started to view Verdi under a completely different microscope, and eagerly looks to this repertoire as his vocal instrument moves there directionally.
Mr. Addis sings ‘Mab’ Romeo et Juliette. Gounod.
The artist has determined that consonant with his interest in Verdi is the more demanding bel canto repertoire. Oh and once again I heard the name Benjamin Britten. Billy Budd to be exact. One tried to be diplomatic given we were speaking to the man COMMANDOpera believes will overtake the podium of the baritone vocal range in a few years, such is the intensity of the man and the instrument in question. And where does his resolute nature derive from? Mr Addis is a sailing man: he pines for it noticeably. The baritone spent virtually every summer of his youth and teen years repairing tall ships up and down the coast of North America. There is some serious salt water coursing through those veins. Perhaps Billy Budd will be his to own one day as no one else could.
Mr. Addis and Crew Mantle at a rather ‘in’ Thai eatery.
COMMANDOpera has just been alerted to these filmed extracts from last Saturday evening from Ancona which were released LAST NIGHT of Mr. Giuesppe Filianoti as Gennaro in Lucrezia Borgia starring Miss Mariella Devia. COMMANDOpera determined to do an article on the works, as Mr. Filianoti is a great pleasure to listen to.
Mr. Filianoti sings ‘Di pescatore ignobile’.
Mr Filianoti approaches the beginning of the air with the most thoughtful pacing which illuminates the tender nature of the air where Gennaro confides his early years to Lucrezia. The inwardness Mr Filianoti conveys through his delicate handling reach an intensity when he reaches the phrase ‘di rio possente vittima’ and alights to an A natural.
Mr. Filianoti and Miss Devia, Act 1 finale Lucrezia Borgia.
Mr. Filianoti’s vocal instrument takes on an urgent tone as the trio with Orsini and Lucrezia begins and he tries to understand and appreciate the Orsini’s condemnation of the woman he has been confiding: Lucrezia. All artists do excellent work here. Both Mr. Filianoti and Miss Devia finish on a C which they release simultaneously after four bars.
Mr. Filianoti ‘Com’e soave quest’ora di slienzio’… ‘Anchio provai le tenere smanie’.
This air is spun out in Donizetti fashion. While Mr. Filianoti’s interpretation of this air does not show us anything new, the artist handles the piece quite capably.
For those who actually know who occupies the seat of power at COMMANDOpera, the above photograph makes a great deal of sense from numerous perspectives. This article is written to illuminate to readers as to how one defines success writing a venue such as this. COMMANDOpera exists only as a verfied informational site in disposition, with a clear cut involvement of all legitimate area’s the art form of opera encompasses (other than ‘Sunday Matinee’ which is decidely un opera). The mandate of the venue does not include innuendo or gossip in any manner; that is the chosen jurisdiction of other sites. Nor does fashion merit space any more than endless chatter parading one’s orientation, also the dominion of other sites. Success to COMMANDOpera could not be improved if the author were engaged by an external site to write, as this venue is not obliged to suffer the validation of another entity to be respected. And finally, success is certainly not to be measured by simply permitting copious quantities of inane and often rude comments on one’s venue.
COMMANDOpera knows success in the high calibre and thoroughly researched material offered daily to a widely expanding global readership. The numbers are truly impressive, however they remain private. When one has standing with virtually every theatre on the planet, and is well thought of by management firms globally as a trustworthy venue, this to COMMANDOpera is success. Since the most important artists of all disciplines in opera choose to communicate with COMMANDOpera discreetly or with the public through this venue, nothing more needs to be said on the matter of how one defines success.
Mr. Abdrazakov is a very busy man. Without question, one appreciates NOT to trouble an elite artist for interviews when they are in the midst of final preparations to essay the title role of a work at a top tier house. Particularly when the run includes the debut of the most acclaimed living conductor of opera on the planet. The Attila will undertake its prima this Tuesday evening at The Metropolitan Opera in New York. Entering into the interview, COMMANDOpera had been cautioned the artist was fluent in Russian and Italian.
Photo Credit: Mr. Ken Howard courtesy of The Metropolitan Opera.
Mr. Abdrazakov who is in his 30’s has followed what would appear to be a rather unique career path, yet in Russia would seem very much at home. The classical entertainments are still enjoyed in Europe as well as Russia by all generations, and are not displaced by more modern trends as they are simply a part of the national fabric and identity. This is important to recognise, because it resolves why the top tier artists today involved with the classics are largely populated from Europe and Russia. Mr. Abdrazakov arrives to us from Ufa, the capital city of the Republic of Bashkortostan. Here is a cityscape the artists home town:
The Kresto-Vozdvizhenskiy Cathedral in Ufa.
Given the size of Ufa, COMMANDOpera first enquired after the musical traditions of Ufa. Mr. Abdrazakov clearly enjoyed speaking on the topic as he advised that Ufa had a long and great history of opera which began on December 17, 1890 with no less then the Great Russian Bass Feodor Chaliapin, when he performed with an opera troupe under the conductor Mikhail Semenov. The notable work of that tournee being the opera ’Pebbles’ by the composer Stanislav Manyushka. The Ufa festival continues to this day with top rank opera artists from around the globe who appear at least once in their career.
Mr. Abdrazakov as Faust. Photo credit: Marthy Stohl courtesy of The Metropolitan Opera.
The artists keen interest in music became clearly evident from an extremely young age; he was actually singing chorus from the time he was five. When Mr Abdrazakov turned six years old, his father sent him to a musical academy where he began studies on the piano. At home he would pick off different melodies with lavish encouragement from both of his parents who instilled in him a great love for music. He waxed nostalgically as he recalled often playing the piano in concert with his father on the violin. By the time Mr. Abdrazakov completed school, he entered the Ufa Academy of Vocal Arts where he immediately began winning vocal competitions. And pour in they did: Prize-winner at the I Televised Irina Arkhipova Moscow Grand Prix Competition (1997), Recipient of the first-prize at the XVII International Glinka Competition (Moscow, 1997), Grand-prix at the III International Rimsky-Korsakov Competition (St Petersburg, 1998), Grand-prix at the I International Elena Obraztsova Competition (St Petersburg, 1999)… and then: Grand-prix at the V International Maria Callas Competition Nuove voci per Verdi (Parma, 2000). It was at this point Mr. Abdrazakov modestly mused that he expected he would sing on the stage of the Ufa theatre, yet after the St. Petersburg competition the Mariinsky immediately laid claim to the artist where he made his debut in Le Nozze di Figaro. The artist assured COMMANDOpera he certainly had not expected at that time to star in productions at the Teatro alla Scala and The Metropolitan working with the most illustrious conductors of our day.
Mr. Abdrazakov with Miss Netrebko in Lucia di Lammermoor. The Metropolitan. 2009.
COMMANDOpera was curious to know what the artist thought of his vocal instrument as it is today, and what repertoire he deemed suitable. Mr. Abdrazakov intoned that low voices were like brandy; the older the better! COMMANDOpera could not have agreed more… Still, he finds his vocal instrument young enough for the bass repertoire he now essays; the Bel Canto works which are essential to correct vocal development as the years progress. His vocal instrument happily provides the artist with possibility to combine Mozart, Verdi, Rossini, and Bellini.
Photo Credit: Mr. Ken Howard courtesy of The Metropolitan Opera.
COMMANDOpera then enquired after the Baroque repertoire given his extremely well rounded training of such works from his favoured Professor Murtazina. I was pleased to hear Mr. Abdrazakov brighten at the concept. The artist’s vocal instrument is impressive in its flexibility and agility which to COMMANDOpera is a necessity to approach the works of this period. Given the opportunity, Mr. Abdrazakov would most assuredly be inclined to illuminate the period airs of Cherubini, Handel, Scarlatti, and Bach. COMMANDOpera invites readers from the various houses to please take note of this.
Photo Credit: Mr. Giovanni Caccamo. Mr. Abdrazakov wears Ermenegidlo Zegna.
COMMANDOpera did not wish to take up more time than was necessary from Mr. Abdrazakov, but was curious to know if there was a house he preferred or conductors he most enjoyed working with. Again, Mr. Abdrazakov exhibited great humility when speaking of the distinguished conductors with whom he has worked and continues to do so; Maestro Riccardo Muti, Maestro James Levine, Maestro Valery Gergiev. The artist holds fondly all of the theatres he has worked, but particularly noted The Metropolitan, and The Royal Opera House Covent Garden. The Attila prima will hold a great deal of interest as the Metropolitan is utilising an original version of the work, not seen before at the theatre. Mr. Abdrazakov who has worked on numerous occasions with Maestro Muti, is thoroughly enjoying the experience of recalibrating his portrayal of Attila with the Maestro. He closed the interview telling COMMANDOpera of his gratefulness to God for giving him this opportunity to be on the same stage with great musicians, both conductors and singers.
COMMANDOpera found in Mr. Abdrazakov a profoundly devoted musician who owns an open nature and a deep sincerity as a human. He, is an iconic portrait to this mind of all that is correct and right among men.
Not often will COMMANDOpera go live with an article on a headlining artist aftera prima. COMMANDOpera should have researched with somewhat more depth the principal artists of last nights Damnation of Faust from the Lyric Opera. There can be no question to this mind, the principal talent employed by the Lyric Opera are only top rank, and though one was highly aware of Miss Graham and Mr. Relyea, the same could not be said for Mr. Grove. Mea Culpa. The performance witnessed live by COMMANDOpera from Mr. Groves was a veritable throwdown to any leggerio tenor on the globe. Literally from the moment Mr. Groves expressed his first notes, one was rocked by the sheer velvety Italianate voice which was simply not expected. The utter beauty created from this artists vocal instrument continued throughout the performance without the slightest impairment. This was Berlioz. An extraordinarily difficult composer for any artist of any vocal range to take on. The commanding technique of Mr. Groves was exhibited at every turn last night, insofar as one could not detect any hint of effort on the part of this tenor. Rest assured, the ear of Crew Mantle misses nothing (the music of each character in the Berlioz Faust is all over the scale, and exposes any artist at every turn, which was clearly evidenced in varying degree’s with the other principals last evening).
Mr. Groves sings ‘Je crois entendre encore’ Les Pecheurs de Perles.
Mr. Groves came to national attention as a winner of the Met’s National Council Auditions in 1991. A graduate of the Metropolitan Opera’s Young Artists Development Program, Mr. Groves made his Metropolitan Opera debut in 1992 as the Steuermann in Der fliegende Holländer. He made his debut at La Scala in 1995 as Tamino in the opening night performance of Die Zauberflöte, Riccardo Muti conducting, and he has returned in several roles, including Renaud in Gluck’s Armide and Nemorino in L’elisir d’amore – the first American tenor invited to La Scala for this role. Audiences in Paris have seen the tenor often since his debut in 1996 season when he appeared as Tom Rakewell at the Théâtre Musical de Paris, Châtelet in a new Sellers/Salonen production of The Rake’s Progress. He has returned to the Châtelet as Admète in their season-opening production of Alceste, led by Sir John Eliot Gardiner and in the title role in Berlioz’s Béatrice et Bénédict. Mr. Groves made his debut with the Opéra de Paris as Fenton in a new production of Falstaff, and he soon returned for performances as Tamino, Berlioz’s Faust, Nemorino, Julian in a new production of Charpentier’s Louise and his role debut as Mozart’s Idomeneo.. The role of Tamino was also the vehicle for his debut at London’s Royal Opera, Covent Garden. He has since returned to perform the role of Pylade in Iphigénie en Tauride opposite Simon Keenlyside and Susan Graham. He has performed often with the Vienna Staatsoper in roles including Tamino, Nemorino, Don Ottavio in Don Giovanni, Flamand in Capriccio, Count Almaviva in Il barbiere di Siviglia, and the Italian Singer in Der Rosenkavalier. He also appeared in Vienna as Camille in a new production of Die lustige Witwe, and as Carlo in a new production of Linda di Chamounix, opposite Thomas Hampson and Edita Gruberova. In 2009 Opera National du Rhin played host to the tenors role debut as Massenet’s Werther and it was in the same season that he debuted in the title role of Stravinsky’s Oedipus Rex in Japan under the baton of Charles Dutoit. Mr. Groves has appeared frequently with the Salzburg Festival since his debut there in 1995 as Don Ottavio under the baton of Daniel Barenboim, including his portrayal of the title role in a critically-acclaimed new production of La damnation de Faust as well as performances as Pylade, Belmonte, and Tamino in the 2006 Mozart anniversary season in performances led by Riccardo Muti. Mr. Groves made his debut with the Deutsche Oper Berlin in 1998 as Des Grieux in a new production of Manon and with the Netherlands Opera in 2001 as Bénédict. His debut with the Bayerische Staatsoper was in 1997 as Don Ottavio, and he has returned to Munich for performances as Tamino and as Arturo in a new production of I Puritani, opposite Edita Gruberova. Had enough?
Mr. Groves with Miss Fleming. Don Giovanni The Metropolitan. 2000.
COMMANDOpera advises anyone who elects to attend a performance with Mr. Groves involved should do so immediately. And so you know, this artist is repped by the same elite management who brings you Miss Netrebko, Mr. Villazon, and Mr. Calleja to name a few. You are the company you keep it seems.
Today’s Sunday Matinee which has zero to do with opera features the Algerian artist Ahmed el Salam. COMMANDOpera found Mr. Salam while looking into the Sauti za Busara Music Festival, which is one of the largest music festivals in Africa located on the island of Zanzibar. Ahmed el Salam was born in Oued Souf, in the Algerian Sahara, where he learnt to play the flute. Later the arist moved to Algiers where he discovered the guitar. He now lives in France and his music embraces the sounds of his life, combining a sublime combination of strings (guitar, oud, violin). In Mr. Salam’s music, you can hear a plurality of cultural influences – echoes of chaabi with other music styles of North Africa and the Middle East, alongside Arabo-Andaluasian flamenco, the blues, Santana and Jimi Hendrix.
COMMANDOpera has attempted to multi task both the Olympics and this venue for the last few days. The venue is losing…. Since the opening ceremonies in Vancouver, the sheer calibre of the competition has been rivetting and of the highest rank. For decades now, the only time one could enjoy a credible game of hockey was when this event took place every four years. The version the NHL offers is so far removed from the actual sport, with the focus more on fighting (I mean really… ‘enforcers’ ?), it is now a boorish past time enjoyed by the lower elements of society.
Much has been made of the significant tragedies, errors, and buffoonery, yet the games happily march on. The Canadian windbag who is heading VANOC, a Mr. John Furlong, is a wee bit too much for this mind to tolerate, yet he is merely a symptomatic product of the old boys network which still maintains its vestiges in certain quarters. The gilded IOC old boys however removed from modern times, remind COMMANDOpera to a degree of the management of particular houses who determine to act as though Brittania has not left the building. What does one make of such a display as this from the colonies?
Above is the actual logo of the Canadian Opera Company. One can only avert ones eyes in embarrassment on the behalf of the staff who work there, to know such an unbridled and egregiously egotistical self promotion of Mr. Neef must be endured on their very marker. COMMANDOpera cannot think of a SINGLE theatre which holds itself as an important venue, who would intentionally mortify their image thusly. How utterly provincial, yet so correct in its presumption for a lower ranked theatre which is a little too aware of itself.
The games have suffered a great deal of negative press in particular from British quarters. This is heavenly to my eyes. London who will be hosting the 2012 summer olympics should advise the Fleet Street boys to tone it down. There is the old saying: ‘those who live in glass houses shouldn’t throw stones’. Fair Londoners and Brits as a whole, simply do not own the joie de vivre of the light hearted Canadians which permits them laugh at their follies. Thinking on it, one can only hope the illustrious Queen will either do the opening honours herself, or settle them upon her two grandsons, thus bypassing the distinctly unpopular windbag heir to the thrown (although he is an excellent gilded IOC fit as is his sister). Nevertheless, it will be a curiosity to compare when the moment is at hand.
COMMANDOpera will devote what time is available between critical events to discuss operatic matters (which explains nothing yesterday and this article today). COMMANDOpera further advises readers to take in what they can of these Olympics as it only comes around once every four years. There is something for everyone to cheer for: even the folks who read of opera at Parterre…..
American figure skater Mr. Johnny Weir twirls and minces to the music.
Mr. Bryan Hymel who is currently electrifying audiences in Toronto as Don Jose in Carmen spoke with COMMANDOpera a short while ago. The tenor is preparing for his debut as Énee in the new Audi production of Hector Berlioz’ Les Troyens. Mr. Hymel’s participation in the work has already been noted at COMMANDOpera here. COMMANDOpera enquired after his preparation which he is working in with favoured coaches between performances. The artist advised it reminded him of the time he sang the tenor leads in Rusalka and I Puritani on alternate nights. For those who know opera recognise the significant difference in wieght accorded to these two roles. It is similar to the feat performed by Miss Maria Callas when she sang Elvira in I Puritani on alternate nights with Brunnhilde in Die Walkure in Ve rona nice1948. This is Mr. Hymel’s timeline: final performance of the COC Carmen Saturday evening… boards plane to Amsterdam Sunday… arrives in Amsterdam Monday morning to take part in the first rehearsal 90 minutes after landing.
Ahh and if that isn’t enough, Mr. Hymel then immediately returns to Carmen at The Royal Opera House Covent Garden for a full run which will encompass a live High Definition broadcast and DVD.
COMMANDOpera is working tirelessly to bring readers an audio clip of the extraordinarily difficult duet: Nuit’s D’ivresse. COMMANDOpera is predicting an historic interpretation given the artists involved…. one that will be held above the current standard of Mr. Jon Vickers and Miss Josephine Veasey from 1962.
COMMANDOpera likesthis bass. These are not easy men to find. There does exist a species which is known as ‘bass baritone’, however there is a unique rumble associated with a bass vocal instrument, the blended version rarely attains. Upon hearing this trait, a listener is immediately aware of something unique of an undeniably lusty nature found in all weights within the bass element. As an example of this, one perhaps can appreciate on many levels why Maestro Donizetti specifically determined Henry VIII in Anna Bolena should be of this vocal weight (basso cantante), as opposed to a baritone (although lyric bass baritones sing the role to acclaim). Mr. Wager as it happens owns a splendid basso cantante vocal weight. Here is Mr. Wager in a performance of Anna Bolena at the AVA in 2008. After the artist utters the first three words, the listener is immediately aware of how Enrico was intentionally designed by Maestro Donizetti.
Mr. Wager spent the summer of 2008 as a member of the prestigious Merola Opera Program at San Francisco Opera, where he sang the role of Il Commendatore in Don Giovanni. In February 2008, Mr. Wager sang Monterone in Rigoletto with Opera New Jersey, followed by Masetto in Don Giovanni for his debut at Chicago Opera Theatre, under the baton of Miss Jane Glover. During the 2008-2009 season, Mr. Wager concluded his residency at AVA with Enrico in Anna Bolena, Il Vescovo in La fiamma, and Raimondo in Lucia di Lammermoor. The artist immediately thereafter was engaged by the Minnesota Opera to sing the bass roles in the North American premiere of Jonathan Dove’s Adventures of Pinocchio, and made his debut at Opera Company of Philadelphia as Collatinus in The Rape of Lucretia.
Mr. Wager sings ‘Ho capito’ Don Giovanni 2009.
For the 2009-2010 season, Mr. Wager will join the ensemble of the Deutsche Oper Berlin, where he will perform a number of roles, including Zuniga in Carmen, Angelotti in Tosca, and Sarastro in an abridged version of Die Zauberflöte. Additional engagements for 09-10 include Beethoven’s 9th Symphony with the Mozarteum of Salzburg under Mr. Ivor Bolton and Rossini’s Stabat Mater with the Oregon Symphony, and his debut at Los Angeles Opera as Julian Pinelli in Schreker’s Die Gezeichneten. Future seasons will find Mr. Wager in his debuts at Opera Cleveland as Nourabad in Les pêcheurs de perles and at Dallas Opera for Masetto in Don Giovanni, as well as a return to Minnesota Opera for a world premiere by Ricky Ian Gordon.
Mr. Wager sings ‘Pro peccatis’ and ‘Eia mater, fons amoris’. Rossini Stabat Mater 2009.
COMMANDOpera finds Mr. Wager owns an exquisite vocal instrument which is unsurpassed by similar offerings today globally. Is it due the period at the AVA, a venue which produces stellar artists in every vocal weight? Who can say. Unquestionably Mr. Wager should be cast in The Metropolitan Opera’s Anna Bolena as Enrico, as the artist would singularly bring the lusty, vindictive king to vibrant life like no other. Why? Beyond his voice, this man has ‘presence’. That rivetting and seldom owned star quality which you just can’t take your eyes away from whenever this artist is on the stage.
COMMANDOpera has no dispute with houses determining to change the essential setting of a plot by ‘updating’, with the proviso the new scenario somehow illuminates the plot in a manner not seen before. Perhaps it would be the German theatres who are most inclined to mount such productions. More often than they would wish, these productions merit only one word: CLUELESS.
Take this 2006 production from the Staatsoper Unter den Linden in Berlin of Donizetti’s Maria Stuarda, which starred Miss Elena Mosuc as Maria Stuarda, and Miss Katerina Karneus as Queen Elizabeth. The house elected to engage two excellent artists as the protagonists, and it appears this is where the budget ran out of funds one can only presume.
Photo credits: Monica Ritterhaus, courtesy of the Staatsoper Unter den Linden.
Here is a review from the prima written by a Mr. Michael Johnson. COMMANDOpera has never before included a review from another source, however the writing is magical and therefore worthy of space here.
While the overture is played, a black and white film flickers on the stage curtain. It shows two grandly dressed divas taking their bows. Many bouquets are thrown to one of them and she grandly shares them with her colleague. Then the curtain rises on the interior of a large shabby house. A deranged-looking woman in flannel pyjamas listens to a scratchy recording of “Maria Stuarda”. A bloke in a windbreaker turns up the volume for her. After a few moments the live music starts again and it is revealed that the woman is none other than the Queen of England and the bloke is the Earl of Leicester. Another man – who turns out to be Lord Guglielmo Cecil – lurks about like a stalker. He wears a T-shirt proclaiming “Elisabeth Forever”. This queen is shown as living on dreams or delusions of past glory and the power of her mania actually conjures up from the deep gloom of the house a sepia-lit chorus in the dress of Donizetti’s era. Whenever she comes down stairs she makes a grotesque entrance much like Norma Desmond at the end of “Sunset Boulevard”. Her makeup is askew and her costumes are increasingly bizarre. Poor Katarina Karnéus! – her singing is really very good, but what one hears is affected by what one sees and her awful costumes sabotage her whole performance. Her second costume is an unbecoming Shirley Temple short dress with puffy sleeves. In the work’s most dramatic scene she has to wear baby doll pyjamas and a crown seemingly fashioned from old Christmas ornaments, and later on a tatty full-length fur coat with a turban that would have made Edith Sitwell flinch.
We eventually discover there is another resident of the creepy house, and she is in a wheelchair. This is Maria Stuarda – obviously the other diva from the brief film, and also deranged. She wears a crown composed of gilded rams horns. The abusive relationship and general milieu conjure up the 1962 Hollywood camp classic “Whatever Happened to Baby Jane?”, with Elisabeth in the Bette Davis role and Maria in the Joan Crawford role. Youngish director Kartsen Wiegand has chosen a eurotrash approach for his debut with the Staatsoper. The danger with these period pieces is that they can become a stuffy, velvet-smothered pageant. Freshening and updating is risky business – and it can work, as exemplified by the Staatsoper’s “Boris Godunov ” (recently reviewed). In 2005 I saw another of Donizetti’s Tudor Trilogy, “Roberto Devereux”, at the Liceu in Barcelona. There they opted for an eloquent semi-staging of the piece, an approach far preferable to Wiegand’s notions that often drew inappropriate but understandable laughter from the audience. For example: in the confrontation scene between the two queens (an ahistorical invention by Friedrich Schiller) the crippled Maria has fallen out of her wheelchair and lies helpless on the floor – and the heartless Elisabeth proceeds to kick her around the stage. As Oscar Wilde wrote, it would take a person with a heart of stone NOT to laugh. At the very end of the work, Maria briefly regains the use of her legs so she can walk to her execution. She is wearing a wedding gown which she has found under the floorboards and is wearing a crown. Elisabeth is also wearing a wedding gown and brandishing a large crucifix. It turns out to have a switchblade in it and she slits Maria’s throat, uttering triumpant cackling laughter. How embarassing!
Musically this was a strong performance. The title role puts the soprano through all the bel canto hoops and the doll-like Elena Mosuc sails through them all. Having heard Juan Diego Florezthe night before in “La Sonnambula” made me yearn for more nuance from José Bros (and the intimate Staatsoper is a theatre that supports nuance). But Donizetti is more robust than Bellini and his youthful ringing voice is ideal for this type of role. Christoff Fischesser capably fulfilled the fatherly bass role of Talbot and he soldiered manfully through the director’s whims. At first he was dressed as a sympathetic doctor who brings a box of chocolates to Maria (and which she greedily consumes). In her confession scene he dons priestly gear, while she sits on his lap. In the subsequent scene, he caresses her in ways that violate both medical and priestly ethics.
Orchestra and chorus contributed to the strong musical impression. They and solosits received hearty applause – then the audience erupted into equally hearty noises of diapproval for the production team. They smiled bravely throught the storm (“hurray – we’re controversial”), but I’m sure they would have preferred to have pleased a larger portion of the audience.
COMMANDOpera keeps a watchful eye on young talent. Without question some of the most extraordinary vocal talent in the tenor range is coming from the North East U.S.A. In the baritone range, European bred artists are most impressive. The soprano range? Global it seems. There is Miss Angela Meade from America, Miss Elza van den Heever from South Africa, and then there is Miss Mojca Erdmann from Germany. Without question these three young soprano’s are certainly more comfortable essaying different points within this sphere.
Miss Erdmann, who was born in Hamburg, started taking violin lessons at the age of six and was singing in the children’s choir of the Hamburger Staatsoper. By the age of fourteen, she began her voice studies as a soloist with Miss Evelyn Herlitzius and switched to Mr. Hans Sotin at the Cologne College of Music, where she also continued to study violin. She continues to work intensively with Miss Ingrid Figur. In 2002, Miss Erdmann did not only win the first prize at the German Federal Competition (category voice), but also the Special Prize for Contemporary Music. In August 2005, she was awarded the NDR Music Prize in the framework of the Schleswig-Holstein Music Festival, as well as the Luitpold Prize in the framework of the Kissinger Summer.
As a student, Miss Erdmann was an ensemble member of the Komische Oper Berlin and appeared as guest at various opera houses (including Deutsche Oper Berlin, Theater Basel, Nationaltheater Mannheim). After her debut at the Salzburger Festspiele in 2006 with the title part of Mozart’s Zaide under Mr. Ivor Bolton, she had another guest performance there as early as in 2007: As Zelmira in Haydn’s Armida, (again, under the direction of Mr. Bolton), she was acclaimed by audience and press alike as the surprise of the festival. This production was repeated in summer 2009. In January 2008, Miss Erdmann for the first time sang Blondchen in Mozart’s Die Entführung aus dem Serail at the Amsterdam Oper under Mr. Constantinos Carydis. In 2008 Mr. Simon Rattle invited her for his new production of Wagners Siegfried as Waldvogel in Aix and in the following year for the Easter Fesival in Salzburg. In the season 2009/10 she made her debut as Sophie in Strauss’ Rosenkavalier in a production of Mr. Stefan Herheim at the Staatsoper Stuttgart under Mr. Manfred Honeck and as Ännchen in Weber’s Freischütz under Mr. Bertrand de Billy at the Theater an der Wien. In 2011 she will make her debut at the Metropolitan Opera New York as Zerlina in a new production of Don Giovanni under Maestro James Levine, which she will follow with performances as Susanna/Figaro and Sophie in Der Rosenkavalier.
COMMANDOpera finds it very pleasing to witness young artists taking their time to correctly train their vocal instrument, essaying roles in smaller theatres. Obviously younger artists do not have a great deal to offer the listening public who would like to hear something of them. One gem from Miss Erdmann which is available is the air from Haydn’s Armida: ‘Tu mi sprezza’.
Miss Erdmann accompanied by the Essen Philharmonie, November 2008.
The other little gem is a perfectly executed duet for Don Giovanni with Italian Bass Baritone, Mr. Ildebrando D’Arcangelo.
‘La ci darem la mano’ Berlin Radio Orchestra, Conductor Marco Armiliato 2009.
COMMANDOpera can now disclose that Tenore Assoluto Mr. Michael Fabiano has signed with Columbia Artists Management Inc. The challenges for any artist who determines to move to a new agency is fraught at best, however when one is speaking of a talent of such calibre as Mr. Fabiano, Columbia Artists has indeed scored a coup which is breath taking. Each time Mr. Fabiano appears it is to critical acclaim. Mr. Fabiano is slated to appear at the Teatro San Carlo in Naples in April as Alfredo in La Traviata, and from there is Nemerino in Fort Worth between May /June. COMMANDOpera broke the news of Mr. Fabiano’s debut this autumn at the Vancouver Opera here, as Edgardo in Lucia di Lammermoor, the role which shot the tenor to international prominence. The most prestigious houses around the world are taking more than a passing glance at this artist who is assuredly on that golden path to super stardom which only the rarest and finest can ascend.
JUST ANNOUNCED: Lucia In Bilbao with Miss Diana Damrau, Cassio at The Paris Opera, the Duke in Rigoletto at the Dresden Semperoper, Rodolpho at the Opera de Limoges.
COMMANDOpera in the strongest terms possible, advises North American houses to engage this leggerio tenor immediately and under any circumstances for their upcoming next few seasons before he becomes far out of range as a global drawing card.
Anne Boleyn. The National Gallery portrait, London.
This article represents Part Two of a three part treatise on the correct approach for success in Anna Bolena, in particular for Miss Netrebko as earlier discussed here. Excusing ones professional existence, there is perhaps nothing more interesting to Crew Mantle next to opera than history from the Medieval period onwards to the early 1600’s. In the library of my manor house, one will find volumes on some of the pivotal yet lesser appreciated nuances which directed the flow of civilisation during this period. For instance, there is the two volume set devoted to English Queens published in the late Victorian period, which includes lithographs of each Queen borne from descriptions of their particular period. Although I have found only the earliest part of Henry VIII’s reign of worthy interest, his maniaical determination to bear a son at any cost changed the path of Europe decisively. Perhaps this is why Anne Boleyn remains perhaps as one of the most important figures in English history.
The Anne Boleyn I have come to know, was an interesting dilemma. Given her formative years were spent in the morally loose courts of France, as an adult woman it would follow that her awareness of a woman’s ‘gifts’ made her that much more alluring then the pale English court ladies of the day. Not only did it possess her with a special aura at court, the fact is she knew precisely how to use this allure to best advantage. A woman who is capable of exhibiting this sort of balancing act of demureness required of early 16 th century English court women, alongside the sexually liberated young woman from France, indicates an extremely vibrant and intelligent mind. While in the service of Queen Claude of France, Anne Boleyn also began her keen interest with reformation. Conversely, Anne Boleyn was also a product of the period where woman were nothing more then chattels to men of power, and thus enjoyed an exceptionally limited scope of power herself; hers was drawn solely from her husband. Still at the end of the day Anne Boleyn can only be viewed as an articulate, disciplined woman who knew what she wanted and went after it. When she finally reached her pinnacle as Queen, she was more aware than anyone else how precarious her position was. And make no mistake, this woman did not have close friends… they were ALL thouroghly on the side of Henry, including her own father and uncle. The inner resources of Anne Boleyn had to have been incredible, as her outward hateur masked a desperate harrowed woman who could not whisper a single phrase which might be taken out of context. Here is a clip from Anne of the Thousand Days which for myself draws something of the real extant character of Anne:
Miss Genevieve Bujold and Sir Richard Burton, the Tower Scene.
To fully understand Anne Boleyn and thus correctly portray her, COMMANDOpera has drawn a lengthy portrait below of the real woman. Although one may read the numerous volumes on Queen Anne as I have, that would take weeks of the readers time as opposed to the single hour required to earnestly attend this post. It is well worth the time invested particularly if you are an artist looking to portray this particular Queen at some point. Her history is cleanly laid out with the text, and the supporting five part video series COMMANDOpera has selected. If only Maestro Donizetti had these armaments. It is critical to try to understand and figure out Anne as a living woman as opposed to the historical figure. Who does she remind you of, or speak to you as? Was she the Anna Wintour of her day, or was she more like Wallis Simpson? Noting that Mr. Felice Romani’s text is seriously loosely based on reality, an artist must nevertheless bring Anne Boleyn to life in such a way to satisfy the expectations of a knowledgeable public.
For a woman who played such an important part in English history, we know remarkably little about her earliest years. Biographer Paul Friedmann puts Anne’s birth at 1502, probably at Blickling (Norfolk) and the date of birth seems to be at the end of May or early June. Other historians put Anne’s birth as late as 1507 or 1509. Anne spent part of her childhood at the court of the Archduchess Margaret. Mr.Friedmann puts her age at 12-13, as that was the minimum age for a ‘fille d’honneur’. It was from there that she was transferred to the household of Mary, Henry VIII’s sister, who was married to Louis XII of France. Anne’s sister Mary was already in ‘the French Queen’s’ attendance. However, when Louis died, Mary Boleyn returned to England with Mary Tudor, while Anne remained in France to attend Claude, the new French queen. Anne remained in France for the next 6 or 7 years. Because of her position, it is possible that she was at the Field of Cloth of Gold, the famous meeting between Henry VIII and the French king, Francis I. During her stay in France she learned to speak French fluently and developed a taste for French clothes, poetry and music.
Anne Boleyn Part 1
The legend of Anne Boleyn always includes a sixth finger and a large mole or goiter on her neck. However, one would have to wonder if a woman with these oddities (not to mention the numerous other moles and warts she was said to have) would be so captivating to the king. She may have had some small moles, as most people do, but they would be more like the attractive ‘beauty marks’. A quote from the Venetian Ambassador said she was ‘not one of the handsomest women in the world…’. She was considered moderately pretty. But, one must consider what ‘pretty’ was in the 16th century. Anne was the opposite of the pale, blonde-haired, blue-eyed image of beauty. She had dark, olive-colored skin, thick dark brown hair and dark brown eyes which often appeared black. Those large dark eyes were often singled out in descriptions of Anne. She clearly used them, and the fascination they aroused, to her advantage whenever possible. She was of average height, had small breasts and a long, elegant neck.
Anne Boleyn Part 2
Anne returned to England around 1521 for details for her marriage were being worked out. Meanwhile she went to court to attend Queen Catherine. Her first recorded appearance at Court was March 1, 1522 at a masque. After her marriage to the heir of Ormonde fell through, she began an affair with Henry Percy, also a rich heir. Cardinal Wolsey put a stop to the romance, which could be why Anne engendered such a hatred of him later in life. It has been suggested that Wolsey stepped in on behalf of the King to remove Percy from the scene because he had already noticed Anne and wanted her for himself. Fraser asserts that this is not the case since the romance between Anne and Percy ended in 1522 and the King didn’t notice Anne until 1526. It is possible that Anne had a precontract with Percy. Somewhere in this time, Anne also had a relationship of some sort with the poet Sir Thomas Wyatt. Wyatt was married in 1520, so the timing of the supposed affair is uncertain. Wyatt was separated from his wife, but there could be little suggestion of his eventual marriage to Anne. Theirs appears to be more of a courtly love.
Exactly when and where Henry VIII first noticed Anne is not known. It is likely that Henry sought to make Anne his mistress, as he had her sister Mary years before. Maybe drawing on the example of Elizabeth Woodville, Queen to Edward IV (and maternal grandmother to Henry VIII) who was said to have told King Edward that she would only be his wife, not his mistress, Anne denied Henry VIII sexual favors. We don’t know who first had the idea marriage, but eventually it evolved into “Queen or nothing” for Anne. At first, the court probably thought that Anne would just end up as another one of Henry’s mistresses. But, in 1527 we see that Henry began to seek an annulment of his marriage to Catherine, making him free to marry again. King Henry’s passion for Anne can be attested to in the love letters he wrote to her when she was away from court. Henry hated writing letters, and very few documents in his own hand survive. However, 17 love letters to Anne remain and are preserved in the Vatican library.
In 1528, Anne’s emergence at Court began. Anne also showed real interest in religious reform and may have introduced some of the ‘new ideas’ to Henry, and gaining the hatred of some members of the Court. When the court spent Christmas at Greenwich that year, Anne was lodged in nice apartments near those of the King. The legal debates on the marriage of Henry and Catherine of Aragon continued on. Anne was no doubt frustrated by the lack of progress. Her temper and tongue showed themselves at times in famous arguments between her and Henry for all the court to see. Anne feared that Henry might go back to Catherine if the marriage could not be annulled and Anne would have wasted time that she could have used to make an advantageous marriage. Anne was not popular with the people of England. They were upset to learn that at the Christmas celebrations of 1529, Anne was given precedence over the Duchesses of Norfolk and Suffolk, the latter of which was the King’s own sister, Mary. In this period, records show that Henry began to spend more and more on Anne, buying her clothes, jewellery, and things for her amusement such as playing cards and bows and arrows. The waiting continued and Anne’s position continued to rise. On the first day of September 1532, she was created Marquess of Pembroke, a title she held in her own right. In October, she held a position of honor at meetings between Henry and the French King in Calais.
Anne Boleyn Part 3
Sometime near the end of 1532, Anne finally gave way and by December she was pregnant. To avoid any questions of the legitimacy of the child, Henry was forced into action. Sometime near St. Paul’s Day (January 25) 1533, Anne and Henry were secretly married. Although the King’s marriage to Catherine was not dissolved, in the King’s mind it had never existed in the first place, so he was free to marry whomever he wanted. On May 23, the Archbishop officially proclaimed that the marriage of Henry and Catherine was invalid. Plans for Anne’s coronation began. In preparation, she had been brought by water from Greenwich to the Tower of London dressed in cloth of gold. The barges following her were said to stretch for four miles down the Thames. On the 1st of June, she left the Tower in procession to Westminster Abbey, where she became a crowned and anointed Queen in a ceremony led by Thomas Cranmer, the Archbishop of Canterbury.
Anne Bolyen Part 4
By August, preparations were being made for the birth of Anne’s child, which was sure to be a boy. Names were being chosen, with Edward and Henry the top choices. The proclamation of the child’s birth had already been written with ‘prince’ used to refer to the child. Anne took to her chamber, according to custom, on August 26, 1533 and on September 7, at about 3:00 in the afternoon, the Princess Elizabeth was born. Her christening service was scaled down, but still a pleasant affair. The princess’ white christening robes can currently be seen on display at Sudeley Castle in England. Anne now knew that it was imperative that she produce a son. By January of 1534, she was pregnant again, but the child was either miscarried or stillborn. In 1535, she was become pregnant again but miscarried by the end of January. The child was reported to have been a boy. The Queen was quite upset, and blamed the miscarriage on her state of mind after hearing that Henry had taken a fall in jousting. She had to have known at this point that her failure to produce a living male heir was a threat to her own life, especially since the King’s fancy for one of her ladies-in-waiting, Jane Seymour, began to grow.
Anne Boleyn Part 5
It is within this next paragraph of Anne Boleyns history that Maestro Donizetti derives the plot for Anna Bolena;
Anne’s enemies at court began to plot against her using the King’s attentions to Jane Seymour as the catalyst for action. Cromwell began to move in action to bring down the Queen. He persuaded the King to sign a document calling for an investigation that would possibly result in charges of treason. On April 30, 1536, Anne’s musician and friend for several years, Mark Smeaton, was arrested and probably tortured into making ‘revelations’ about the Queen. Next, Sir Henry Norris was arrested and taken to the Tower of London. Then the Queen’s own brother, George Boleyn, Lord Rochford was arrested. On May 2, the Queen herself was arrested at Greenwich and was informed of the charges against her: adultery, incest and plotting to murder the King. She was then taken to the Tower by barge along the same path she had traveled to prepare for her coronation just three years earlier. In fact, she was lodged in the same rooms she had held on that occasion. There were several more arrests. Sir Francis Weston and William Brereton were charged with adultery with the Queen. Sir Thomas Wyatt was also arrested, but later released. They were put on trial with Smeaton and Norris at Westminster Hall on May 12, 1536. The men were not allowed to defend themselves, as was the case in charges of treason. They were found guilty and received the required punishment: they were to be hanged at Tyburn, cut down while still living and then disemboweled and quartered. On Monday the 15th, the Queen and her brother were put on trial at the Great Hall of the Tower of London. It is estimated that some 2000 people attended. Anne conducted herself in a calm and dignified manner, denying all the charges against her. Her brother was tried next, with his own wife testifying against him (she got her due later in the scandal of Kathryn Howard). Even though the evidence against them was scant, they were both found guilty, with the sentence being read by their uncle, Thomas Howard , the Duke of Norfolk. They were to be either burnt at the stake (which was the punishment for incest) or beheaded, at the discretion of the King.
On May 17, George Boleyn was executed on Tower Hill. The other four men condemned with the Queen had their sentences commuted from the grisly fate at Tyburn to a simple beheading at the Tower with Lord Rochford. Anne knew that her time would soon come and started to become hysterical, her behavior swinging from great levity to body- wracking sobs. She received news that an expert swordsman from Calais had been summoned, who would no doubt deliver a cleaner blow with a sharp sword than the traditional axe. It was then that she made the famous comment about her ‘little neck’. Interestingly, shortly before her execution on charges of adultery, the Queen’s marriage to the King was dissolved and declared invalid. One would wonder then how she could have committed adultery if she had in fact never been married to the King, but this was overlooked, as were so many other lapses of logic in the charges against Anne. They came for Anne on the morning of May 19 to take her to the Tower Green, where she was to be afforded the dignity of a private execution. She made a short speech before kneeling on the scaffold. She removed her headdress (which was an English gable hood and not her usual French hood, according to contemporary reports) and her ladies tied a blindfold over her eyes. The sword itself had been hidden under the straw. The swordsman cut off her head with one swift stroke. Anne’s body and head were put into an arrow chest and buried in an unmarked grave in the Chapel of St. Peter ad Vincula which adjoined the Tower Green. Her body was one that was identified in renovations of the chapel under the reign of Queen Victoria, so Anne’s final resting place is now marked in the marble floor.
The synopsis of Anna Bolena by Gaetano Donizetti:
Act One
Act One, Scene One, takes places at night in the apartments of the Queen at Windsor Castle. Courtiers comment that the queen’s star is setting, because the king’s fickle heart burns with another love. Giovanna (Jane Seymour) enters. Troubled, she wonders why the queen has asked to see her. (“Ella di me, sollecita più dell’usato, ha chiesto.”) Anna (the queen, Anne Boleyn) enters and notes that people seem sad. (“Si taciturna e mesta mai non vidi assemblea.”) The queen admits being troubled to Giovanna. At the queen’s request, her page Smeton plays the harp and sings to cheer the people present. (“Deh! non voler costringere a finta gioia il viso . . .”) The queen asks him to stop. Unheard by any one else, she says to herself that the ashes of her first love are still burning, and that she is now unhappy in her vain splendor. The queen is unwilling to tell Giovanna what is troubling her. All leave, except Giovanna. Enrico (Henry VIII) the king enters. Enrico tells Giovanna that soon she will have no rival, that the altar has been prepared for her , that she will have husband, sceptre, and throne. Each leaves by a different door.
Act One, Scene Two, takes place during the daytime in the park surrounding Windsor Castle. Lord Rochefort, Anna’s brother, is surprised to meet Lord Richard Percy, who has been called back to England from exile by Enrico. Percy asks is it true that the Queen is unhappy and that the King has changed. “And does love ever remain content?,” replies Rochefort. Hunters enter. Percy is agitated at the prospect of possibly seeing Anna, who was his first love. Enrico and Anna enter and express surprise at seeing Percy. Enrico does not allow Percy to kiss his hand, but says that Anna has given him assurances of Percy’s innocence. “Ah! do not betray me, o heart!,” says Anna to herself. She still has feelings for Percy. In an aside, Enrico tells Hervey, an officer of the king, to be the spy of every step and every word of Anna and Percy.
Act One, Scene Three, takes place in Windsor Castle in a small room leading into Anna’s apartments. Smeton takes from his breast a locket containing Anna’s portrait and he kisses it. He has stolen it and has come to return it. He hears a sound and hides beyond a screen. Anna and Rochefort enter. Rochefort asks Anna to hear Percy. Then he leaves. Smeton peeps out from behind the screen, but feels that he cannot escape. Percy enters. Percy says that he sees that Anna is unhappy. She tells him that the king now loathes her. Percy says that he still loves her. Anna tell him not to speak to her of love. Before leaving, Percy asks whether he can see Anna again. She says, “No. Never again.” He draws his sword to stab himself, and Anna screams. In the mistaken belief that Percy is attacking Anna, Smeton rushes out from behind the screen. Smeton and Percy are about to fight. Anna faints, and Rochefort rushes in. Just then, Enrico enters and sees the unsheathed swords. Summoning attendants, he says that these persons have betrayed their king. Smeton says that it is not true, and tears open his tunic to offer his breast to the king for slaying if he is lying. The locket with Anna’s portrait falls at the king’s feet. The king snatches it up. “Ecco il tradimento,” “Here is betrayal,” he says. He orders that the offenders be dragged to dungeons. Anna says to herself that her fate is sealed.
Act Two
Act Two, Scene One, takes place in London in an antechamber leading into the rooms where Anna is held prisoner. Guards stand at the door. They note that even Giovanna Seymour has stayed away from Anna. Anna enters with a chorus of ladies, who tell her to place her trust in heaven. Hervey enters and says that the Council of Peers has summoned the ladies into its presence. The ladies leave with Hervey. Giovanna enters, and says that Anna can avoid being put to death by admitting guilt. Anna says that she will not buy her life with infamy. She expresses the hope that her successor will wear a crown of thorns. Giovanna admits that she is to be the successor. Anna tells her to leave, but says that Enrico alone is the guilty one. Giovanna leaves, deeply upset.
Act Two, Scene Two, takes place in the antechamber leading into the hall where the Council of Peers is meeting. Hervey tells courtiers that Anna is lost, because Smeton has talked and has revealed a crime. Enrico enters. Hervey says that Smeton has fallen into the trap. Enrico tells Hervey to continue to let Smeton believe that he has saved Anna’s life. Anna and Percy are brought in, separately. Enrico says that Anna has made love to the page Smeton, and that there are witnesses. He says that both Anna and Percy will dies. Percy says that it is written in heaven that he and Anna are married. They are led away by guards. Giovanna enters. She says that she does not want to be the cause of Anna’s death. Enrico says that she will not save Anna by leaving. Hervey enters and says that the Council has dissolved the royal marriage and has condemned Anna and her accomplices to death. Courtiers and Giovanna ask the king to be merciful. He tells them to leave.
Act Two, Scene Three, takes place at the Tower of London. Percy and Rochefort are together in their cell. Hervey enters and says that the king has pardoned them. They ask about Anna. Hearing that she is to be executed, they choose to be executed also. They leave, surrounded by guards.
In Anna’s cell, a chorus of ladies comment on her madness and grief. Anna enters and asks them “Are you weeping?”, “Piangete voi?” She imagines that it is her wedding day to the king. Then she imagines that she sees Percy, and she asks him to take her back to her childhood home. (“Al dolce guidami castel natio . . .”) Percy, Rochefort, and Smeton are brought in. Smeton throws himself at Anna’s feet, and says that he accused her in the belief that he was saving her life. In delirium, Anna asks him why he is not playing his lute. The sound of cannon is heard. Anna comes to her senses. She is told that Giovanna and Enrico are being acclaimed by the populace on their wedding day. Anna says that she does not invoke vengeance on the wicked couple. She faints. Guards enter to lead the prisoners to the block. Smeton, Percy and Rochefort say that one victim has already been sacrificed.
COMMANDOpera’s Sunday Matinee which has nothing to do with opera, is taken from a rather curious uproar going on in Brazil at this moment. It all has to do with the spectacular annual event in Rio de Janeiro known as Carnaval. The honour of being one of the Carnaval drum queens, the nimble-footed women who lead the deafening samba troupes along Rio’s Sambadrome, is normally reserved for immaculately tanned and half-naked soap opera stars keen to keep their faces – and bottoms – in the Brazilian media. The role of the drum queen is to motivate the drummers who are behind her to play more intensely through sexually charged dancing. A decision by one of Rio’s top samba schools to let a seven-year-old girl lead its 2010 carnival procession has caused this uproar on the eve of what Brazilians call the greatest party on Earth. One of the concerns being how is it possible for a seven year old girl dance aggressively for the required 80 minutes, not too mention the perceived inappropriateness. Here is a MUST watch video for those who are unfamiliar with Carnaval:
Part 1
Part 2
Samba schools are very large groups of performers, financed by respected organizations (as well as illegal gambling groups), who work year round in preparation for Carnaval. Samba Schools perform in the Sambadrome, which runs four entire nights. They are part of an official competition, divided into seven divisions, in which a single school is declared the winner, according to costume, flow, theme, and band music quality and performance. Some samba schools also hold street parties in their neighborhoods, through which they parade along with their followers. Here now are some well known Drum Queens:
The Stratospheric Miss Nili Riemer
Photo Credit: Mr. David Neuse.
COMMANDOpera was researching the new season at the Cleveland Opera and found that Lucia di Lammermoor would be opening the season which begins in May. Most striking within the production was the Lucia whom COMMANDOpera had already been aware of and was watching having heard of her uniqueness in range combined with serious volume. The 28 year old Israeli Soprano,Miss Nili Reimer. COMMANDOpera often profiles Tenor’s and Baritones with a sprinkling of Mezzo Soprano’s, however rarely a soprano of any range. The reason is the distinct rarity of new voices within the vocal range. Miss Riemer owns an extraordinary instrument which easily runs up to A, however the artist is prepared to sing only up to G in public as a matter of good taste. The fashion today one might suggest, is the current use of engaging Lyric Soprano’s with a rather round ‘Russian’ tone with an extension to the upper register to cast in true coloratura roles. COMMANDOpera appreciates the necessity of this when the correct vocal range is not readily available. A true Coloratura owns a natural, unforced golden and crystalline tone in the upper register which any Lyric Soprano regardless of extension cannot manage. This particular coloratura owns a phenomenal vocal instrument which does not arrive all too often at this calibre. When listening to the performance clips offered within this article, note the fullness of tone and velvety quality to each and every register of this artist. Here is Miss Riemer as Rosina from Il Barbiere di Siviglia:
Miss Riemer sings a highly embellished ‘Una voce poco fa’.
COMMANDOpera spoke with Miss Riemer today from Germany where the artist is in Heidleberg and is currently performing the Queen of the Night. This is repertory theatre and the Zauberflote performances are so popular they keep selling out, which means her stay continues to get extended. This Queen of the Night has an alcohol problem which gives Miss Riemer a great deal of pleasure when it comes to playing her. There is always going to be some fresh and interesting nuance which can be found in each performance. COMMANDOpera wonders if this may have something to do with the audience craze for this show. Miss Riemer likened her to an aging Judy Garland who is locked out of seeing her daughter Liza Minelli perform and turns to booze for solace.
Miss Riemer sings ‘O Zittre Nicht’ Heidleberg. 2009.
Miss Riemer holds a Master of Music degree from the State University of New York-Binghamton and is a graduate of the dual-degree program at New England Conservatory of Music and Tufts University, where she earned a Bachelor of Music and a Bachelor of Arts with a concentration in International Relations. The artist has received a number of awards from the Gerda Lissner Foundation, Shoshannah Foundation, Career Bridges, Schubert Club Competition, Altamura-Caruso International Vocal Competition, Queens Opera Competition, and Nebraska district Metropolitan Opera National Council Auditions.
Given that Miss Riemer was currently living in the land of modern update Koncept productions, COMMANDOpera enquired as to her opinion of such updates. Although she would not confess to any particular leanings in any manner, she did make a nascent point. While Miss Riemer feels many works can be updated, it is essential that the full span of the entire work be properly thought out so every air, duet, trio, etc, makes sense. She then postulated on a number of different hypothesis for Lucia which would or would not work and why. Which lead to her own approach to the character of Lucia herself. And oh did COMMANDOpera like what this artist had to say when querying the artist on what newness she would bring to the role. Miss Riemer clearly did not see Lucia as imbalanced even slightly in the first air ‘Regnava’. Rather, she likened her to a happy modern day girl who would be fanatically into say, the Twilight Zone. Excellent opinion and thinking when one considers Lucia is first found with Alice out in the forest discussing strange, almost paranormal matters and occurrences in such vista’s. Given this set up to the character, one can eerily visualise Lucia’s descent into believable madness as such a girl as we would know her today in this scenario would raise an eyebrow at the office. Miss Riemer would not give away more than that however…. Just brilliant.
Miss Riemer sings Olympia’s aria ‘Les Oiseaux dans la charmille’. A virtual homage to Miss Sills.
COMMANDOpera enquired as to what Bellini roles Miss Riemer would be interested in essaying, and Amina stood large. Currently the artist is enjoying the challenges of Mozart and Strauss a great deal, with Donizetti evidenced now and again. Specific Italianate repertoire is coming into range, and Miss Riemer will look more into the Bel Canto works as they become suitable for her vocal instrument. COMMANDOpera was extremely impressed on all levels with what this artist had to say when obliged to speak pointedly on all topics. Miss Riemer has the assuring confidence of an artist who knows distinctly what her vocal instrument can do, and when she intends to do it. If COMMANDOpera were to consider a future dream pairing come true, it would have to be Miss Riemer and Mr. Fabiano appear together in Manon by Massenet.