German soprano Anne Schwanewilms withdraws from Lyric Opera of Chicago revival of THE MARRIAGE OF FIGARO due to bronchial infection

American soprano Amanda Majeski portrays Countess Almaviva at Lyric March 9 and 12

American soprano Nicole Cabell will perform the role of the Countess for the remaining six performances, March 15 – 27

German soprano Anne Schwanewilms has withdrawn from eight remaining performances in Lyric Opera of Chicago’s current revival of The Marriage of Figaro Feb. 28-Mar. 27 due to a stubborn bronchial infection, and has returned home on her doctor’s advice, Lyric’s general director William Mason announced today. Schwanewilms sang the role of Countess Almaviva in the Mozart masterpiece for the opening performance Feb. 28 and subsequent performances Mar. 3 and 6.

American soprano Amanda Majeski portrays the Countess at Lyric Tues., Mar. 6 and Fri., Mar. 12.  She is a first year member of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, and is scheduled to portray the Countess at Opera Theatre of Saint Louis this summer.

American soprano Nicole Cabell will portray the Countess for the final six performances at Lyric, March 15 through 27. Currently portraying Musetta in the Metropolitan Opera production of La Bohème, Cabell has been graciously released by that company, Mason said.

“We deeply appreciate Ms. Schwanewilms’ three valiant performances and offer all best wishes for her swift recovery,” said Mason. “We are fortunate that Ms. Majeski, a current member of our Ryan Opera Center and Ms. Schwanewilims’ understudy, is able to step in with confidence. “We are additionally grateful that Ms. Cabell, a former member of the Ryan Opera Center who just starred as a brilliant Adina here, is available to sing the final six performances of the Countess, having been graciously released to do so by our friends at the Metropolitan Opera.”

Chorus Tenor Auditions in New York City for LYRIC OPERA OF CHICAGO on Monday, April 12,  for Lyric’s 2010-2011 Season Macbeth, Carmen, A Midsummer Night’s Dream, A Masked Ball, The Mikado, The Girl of the Golden West, Lohengrin, & Hercules.

William Mason, General Director
Sir Andrew Davis, Music Director
Donald Nally, Chorus Master

Lyric Opera of Chicago will hold auditions in New York City on Monday, April 12 for experienced, classically trained tenors to fill chorus tenor openings in the company’s choral ensemble for the 2010-2011season.

The world-renowned opera company has openings for tenors in its Regular Chorus and Supplementary Chorus for its 56th season, which commences Oct. 1. Lyric Opera of Chicago’s eight-opera season comprises 68 performances in 24 weeks.
 
CHORUS TENOR AUDITIONS will be held in NEW YORK on Monday, April 12, from 4:00 – 9:00 p.m. AUDITIONS ARE BY INVITATION ONLY. To be considered for an audition, tenors should send a current résumé and photo to:

Chorus Auditions Coordinator
Lyric Opera of Chicago
20 North Wacker Drive, Suite 860
Chicago, IL 60606

or choraud@lyricopera.org

The deadline for submitting materials is Monday, April 5, 2010. Once materials are received, applicants will be evaluated by the Chorus Master and appointments will be made for qualified candidates.  Not all applicants who submit a résumé and photo will be asked to audition.  Walk-ins will NOT be seen.

New York City chorus tenor auditions for Lyric Opera of Chicago will be held on the Lincoln Center campus in the Daniel and Joanna S. Rose Rehearsal Studio. The Daniel and Joanna S. Rose Rehearsal Studio is located in the Rose Building, 10th floor, at 65th Street and Amsterdam Avenue.

AUDITION REQUIREMENTS
Lyric Opera of Chicago seeks classically trained tenors who are prepared for a professional career. Candidates are expected to prepare one operatic aria in a foreign language by memory that best demonstrates vocal ability. A second aria may be requested which may be in English. Lyric Opera of Chicago will furnish an accompanist. Candidates must provide a copy of each aria for the accompanist – legible and in the correct key. They should also be prepared to sight read. The ability to read and memorize music quickly and accurately is a must.

Candidates are required to prove United States citizenship; permanent residency; or possess, at the time of the audition, legal permission to work in the United States of America during the rehearsal and performance period.

Please note that guests will not be permitted into the audition site.

For more information please call the audition hotline at (312) 827-3548 or email choraud@lyricopera.org

REGULAR CHORUS
In the 2010-2011 season, first-year choristers will be offered a 32-week contract at a salary of $1,343.50 per week. Musical rehearsals will begin on or about August 2, 2010, with staging rehearsals beginning in September. Prior to the beginning of staging, musical rehearsals will be held Monday through Friday during the day and evening hours. Once staging begins, there will also be weekend rehearsals. A full (tentative) schedule will be provided prior to the commencement of rehearsals. The 2010-2011 performance season runs from October 2010 through March 2011.

SUPPLEMENTARY CHORUS
Musical rehearsals will begin on or about August 2, 2010, with staging rehearsals beginning in September. Music rehearsals involving the supplementary chorus are scheduled on weekdays in the late afternoon and evenings. Once staging begins, there will also be weekend rehearsals. A full (tentative) schedule of rehearsals and performances will be provided prior to the commencement of rehearsals. The 2010-2011 performance season runs from October 2010 through March 2011. The salary for a supplementary chorister depends on the number of productions for which the singer is engaged, ranging from one to four productions. Compensation for a supplementary chorister in the 2010-2011 season ranges from $49.76 to $71.10 per rehearsal hour and $253.00 to $284.50 per performance.

During Lyric Opera of Chicago’s 56th season, the chorus performs in Verdi’s Macbeth and A Masked Ball, Puccini’s The Girl of the Golden West, Bizet’s Carmen, Wagner’s Lohengrin, Handel’s Hercules, and Gilbert & Sullivan’s The Mikado. (Britten’s A Midsummer Night’s Dream uses only children’s chorus.) For more information about the artists and productions of Lyric’s 2010-11 season go to www.lyricopera.org .

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.

The performances are all under the baton of Polish conductor Tadeusz Kozlowski who is the Music Director of The Teatr Wielki. The Klytä mnestra  of this tournee is the famed Polish Contralto Miss Ewa Podleś, Elektra Miss Jeanne-Michèle Charbonnet, Chrysothemis  Miss Danielle  Halbwachs, Aegisth Mr. Kurt Azesberger, Orest Mr. Mark Schnaible.

Miss Podles as Klytemnestra, Toronto 2007.

COMMANDOpera has watched the operation and dynamics between artists, management companies, theatres, publicists, and whoever else is looking to make a dime. Fortunately this industry still runs on basic good manners which is the correct underpinning of how business gets done. The realities are stark and basic; everyone is on friendly terms regardless of whether they like each other or not. Such trivialities as ‘personality’ are not paramount, nor should they get in the way of doing business. Professionalism is key.  No one but NO ONE demeans a house publicly in the media, as to do so is professional suicide. Seriously, why would a house re engage someone who has spoken ill of them….. in public? What a management company or an artist or a publicist may think of a house in private is another matter. The theatres are distinctly at the top of this particular food chain, so behave accordingly: with respectful silence always.

The relationship an artist has with their management is simply another business arrangement and nothing more. When considering management, remember it is you who are making money for them and not the other way around. It is your vocal talent which at the end of the day is the product for sale. What an agency is selling to an artist is their connections to the theatres. Too often COMMANDOpera has seen exceptional voices on the roster of the wrong management. Simply because a management agency exists does not mean you are one lucky artist because they determine to look at you. There is one small New York agency run by a Latin woman who has around 30 artists on her roster; some with the most extraordinary voices yet none who you would know. Her agency makes a big to do about engaging artists twice a year, but wary to those in the opinion of COMMANDOpera who move in such direction. Aspiring artists should do their homework. Look to see who is on the roster of a management company they are considering, and what those artists have accomplished. What engagements has the agency lined up for their artists as a whole? Are they internationally connected in scope or national, or are they even connected largely with opera? All agencies will take the time to hear you, don’t be fooled into thinking otherwise. Only rarely will a young artist be engaged by one of the short list of top management companies, and then only if they own the correct pedigree. Contracts usually run for three years at which point an artist can either stay with the company or move elsewhere, or the agency may not find you a good fit. To move vertically to a top tier agency takes time, and some years of excellent reviews in your back pocket before you are considered. And this fact alone establishes the critical nature of making the correct choice for your first agency. Relationships matter to a minor degree, but this is business so don’t listen to what they can tell you what they can do; LOOK at their track record. COMMANDOpera warrants you this, if your initial agency does little for you and you find yourself going no where it is because you did not do your research and have only yourself to blame. It is better to wait to get signed by the correct agency (stay on their case) then to go where your nothing more than expendable cattle.

COMMANDOpera will further note to an artist not to have high expectations on an agency to look after your publicity: that’s not their job. What has been outlined above for management applies directly to public relations. COMMANDOpera as a venue whose specific raison d’etre is to write on opera consequently has dealt with numerous of them, and has directly found the differences can be night and day. ALL artists require publicity, end of story. If your name remains in the public domain, your cache is that much higher, and this alone is what you pay a publicist to do. From the perspective of COMMANDOpera this necessitates more than availing the media to an artist. Once again it requires the underpinning of the way business is done: correct manners. If a publicist does not make the effort to interact with the media properly (if at all), then not only is the publicist not doing the job an artist is paying them to do, the media itself will stop doing business with the publicist in question. Choosing a publicist is as difficult yet as important as selecting your management. If you are not getting interview requests, or your name is not in any of the media, your with the wrong publicist.

Finally COMMANDOpera advises you get your work up on YouTube. This is a vocal art form you have determined to take part in, so it naturally follows that your voice must be noted within the public domain at every turn imaginable. A pretty face while an asset only opens the door of interest to the real object: your voice. COMMANDOpera marvels not a little each day at vocal artists who long for exposure yet do not offer the one thing the public wants from them. Let COMMANDOpera be the first to assure any vocal artist, the challenge the new media faces to bring them visibility to the public without it. Many elite artists find numerous ways of getting their work in the public domain on YouTube, which in turn is found by a venue such as COMMANDOpera who then may generate the global publicity so sought after. It doesn’t happen otherwise. An international career can virtually be assured via the savvy use of the new media. There are those who want it and are determined to go after it with full artillery, and COMMANDOpera is there next to them. For those artists who are too lazy (read: other commitments, kids, etc) to go for the jugular required to ascend the golden throne, find another career.

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.

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.

Above are three recent video’s from the Palacio de Bellas Artes in Mexico City. COMMANDOpera is pleased to report the website of the theatre has been updated slightly. Mexico which is celebrating 200 years of independence this year, has determined to refurbish the august theatre which was built to mark its first centennial. COMMANDOpera has gone to extraordinary lengths to get through to this particular house, including speaking with the Ambassador from Mexico to the country where I reside. COMMANDOpera will continue working all avenues to gain entry into this theatre (which is run by the department of education in Mexico) regardless of the brick walls one keeps running headlong into. Here is their YouTube page.

The work will see its premiere this Friday evening and will run for 12 performances intermittently at the Opernhaus Dusseldorf, then move over to the sister theatre in Duisburg for an additional three performances. The conducting duties have been triple cast with Mr. Johannes Debus opening the run, and Mr. Chien Wen-Pin, and Mr. Ralf Lange taking on other performances. Mr. Daniel Jakobi is announced to cover for all of the conductors.

The cast for the performance is comprised of names not particularly well known outside of Europe. Rigoletto Boris Statsenko,Herzog von Mantua Andrej Dunaev, Gilda Olesya Golovneva, Graf von Monterone Daniel Djambazian / Markus Marquardt / Adrian Sampetrean, Graf von Ceprano Rolf Broman, Gräfin von Ceprano Jaclyn Bermudez / Judita Nagyová, Marullo Dmitri Vargin / Richard Sveda, Borsa Simeon Esper / Florian Simson, Sparafucile Riihonen / Günes Gürle, Maddalena Geneviève King / Katarzyna Kuncio, Giovanna Cornelia Berger,Henker Jwa-Kyeom Kim / Franz-Martin Preihs, Page Chieko Higashi / Victoria Demkina.

COMMANDOpera is always mindful of the tight budgets provincial houses must work with, however one does not know where to look when the mannequins out distance the live artists vertically. The Duke of this performance, Mr. Dunaev owns such a delightful vocal instrument, COMMANDOpera is obliged to present it. There is nothing forced, and there is that discernible Italianate shimmering vibrato favoured by artists in the early post war period.

Mr. Dunaev sings ‘Kuda Kuda’ Lenski’s air from Eugene Onegin, Paris Opera Garnier 2008.

Shockingly and depressingly this is where the brilliant casting of this production goes brutally south. And COMMANDOpera means through a manhole. The main Faust is none other than Mr. Stuart Neill. No offense to Mr. Neill, but his entire top register has moved consistently beyond strident and unpleasant to ragged and painful. COMMANDOpera does not enjoy declaiming such egergious words (however rightful) about any artist, nevertheless it is incorrect for a theatre of the pre emminence of The Teatro dell’Opera di Roma to engage a tenor with a vocal instrument of this decay. And the other Faust? Mr. Walter Fraccaro. 

The run will be double cast as follows; Mefistofele  Orlin Anastassov (16, 18, 20, 23) / Francesco Palmieri (17, 19, 21), Faust  Stuart Neill (16, 18, 20, 21, 23) / Walter Fraccaro (17, 19), Margherita  Amarilli Nizza (16, 18, 20, 23) / Teresa Romano (17, 19, 21), Marta  Chiara Chialli (16, 18, 20) / Letizia Del Magro (17, 19, 21, 23), Wagner  Amedeo Moretti, Elena  Amarilli Nizza (16, 18, 20, 23) / Anda-Louise Bogza (17, 19, 21), Pantalis Chiara Chialli (16, 18, 20) / Letizia Del Magro (17, 19, 21, 23), Neréo  Maurizio Rossi (16, 18, 20, 23) / Luca Battagello (17, 19, 21).  

For the enlightenment of readers, COMMANDOpera will submit videos of the three principals in roles other than those from Mefistofele for the sake of appreciating the vocal instruments discussed here.

Mr. Anastassov sings Zaccaria’s opening air and cabaletta from Nabucco. Teatro Carlo Felice, Genoa 2004. Seriously, whoever paid attention to Zaccaria before?

Miss Nizza ‘Senza mamma’ Teatro Massimo Palermo 2008.

Mr. Neill ‘Di quella pira’ Maggio Musical Florence.

Il Prigionero. Le Madre is portrayed by Miss Paoletta Marrocu, Il Prigionero is Mr. Lauri Vasar, Il Grand Inquisitor is Mr. Donald Kasch.

Spain, during the reign of Philip II. A mother visits her son in prison. She remembers a nightmare in which she saw the face of the King metamorphose into the face of Death. The prisoner tells how the warder called him ‘brother’; this gave him new hope and he could pray again. After his mother’s departure, the warder come and tells the prisoner that revolution has broken out in the Low Countries. The bell Roelandt shall soon once more ring in Ghent and announce the end of Philip’s reign of terror and of the Inquisition. The warder sings a beggar’s song and leaves the cell door open as he departs. The prisoner creeps through dark passageways under the prison. To his horror he meets a monk with an instrument of torture, but finds the courage to continue. Two priests pass and he has to hide. The prisoner feels fresh air on his hands and reaches the outside door. He fancies he hears the bell Roelandt ringing. The prisoner is blissfully happy in a large garden. He winds his arms round a large cedar in joy. Two large arms come out of the tree and embrace him: it is the Grand Inquisitor! The prisoner realises that his worst torture has been that of false hope.

Bluebeard’s Castle. Bluebeard is portrayed by Mr. Gabor Bretz, Judith is Miss Elena Zhidakova.

Bluebeard brings his new bride home to his castle. He asks her if she is sure that she wishes to share her life with him; Judith replies that she has no doubts. He lets the door close and Judith notices that the walls are weeping. She is given one more chance to go back, and once more she refuses. Bluebeard asks her why she had chosen him; Judith answers that she wants to bring warmth and dryness to his castle. He is not satisfied with her answer and refuses to open the seven doors that she now observes. The castle itself answers her urgent demands with sighs. Bluebeard asks her if she is afraid; she denies this and repeats her request for the keys to the doors, for the sake of her love for him. He accepts. A sigh resounds as the first door, the door to the torture chamber, is opened. Judith then opens the doors to the armoury, to the treasury, to the gardens and to a terrace with a view over Bluebeard’s estates. Judith wishes to know all his secrets. Finally, much against his will, he gives her the keys to a door that conceals a lake of tears and to the final door. From this final door Bluebeard’s three previous wives now come forth: he explains that they are his loves of the dawn, of the midday and of the evening. Judith is the most beautiful of them all for him, for she is his love of the night. All four women pass through the seventh door and Bluebeard is left alone.

De Nederlandse Opera’s exceptional promotional video.

VO ANNOUNCES NEW DETAILS ABOUT NIXON IN CHINA COMMUNITY ENGAGEMENT SERIES

Vancouver, BC ~ Vancouver Opera announces a major program of events surrounding the Canadian premiere of John Adams’s modern masterpiece. VO has partnered with several groups to create this series that explores the historic 1972 meeting between Richard Nixon and Mao Zedong, the opera it inspired and the establishment of the Chinese community in Vancouver.

Former US Ambassador to the UN to Attend Nixon in China

At the invitation of the US Consul General in Vancouver and Vancouver Opera, former US Ambassador to the United Nations John Negroponte, whose early career included working at the National Security Council with Henry Kissinger in the early 1970s, will visit Vancouver to attend private functions and the Canadian premiere of Nixon in China.

Community Engagement Series Details

Inside the Music of John Adams. Tuesday, March 2nd  7:00pm Vancouver Academy of Music 1270 Chestnut Street, Vancouver. Free Admission

An exploration of the music and career of Pulitzer Prize-winning composer John Adams. Presenters include writer and educator Thomas May, editor of The John Adams Reader, conductor John DeMain, who conducted the original 1987 production of Nixon in China, and Vancouver composer/conductor Owen Underhill.

Opera Speaks @ VPL – Chinese Vancouver Then & Now: 1972-2010. Tuesday, March 9th  7:00 – 9:00 pm. Vancouver Public Library – Central Branch, Alice MacKay Room. Free Admission – seating is limited.

Explore the history of the Chinese in Vancouver, with emphasis on the Chinese communities’ emergence and development since 1972, the year of Nixon’s momentous trip to China. Discover how our city has been shaped and transformed by Chinese culture over the past 38 years. Moderated by UBC historian Henry Yu. Speakers include eminent architect Bing Thom and filmmaker Colleen Leung.

Presented in partnership with the Vancouver Public Library. Opera Speaks @ VPL is sponsored by Omni BC Diversity Television.

In China: Comparing the Nixon, Trudeau and Harper Visits. Friday, March 12th  4:00pm – 5:30pm. Choi Building Conference Room, 1855 West Mall, UBC. Free Admission

A panel discussion exploring the past and future of Canada-China Relations, which closes a two-day colloquium hosted by the Institute of Asian Research. For more information see www.iar.ubc.ca. 

Presented in partnership with the Institute of Asian Research, University of British Columbia.

Literary Lunch with Margaret MacMillan and Alexandre Trudeau. Tuesday, March 16th  12:30pm – 2:30pm. Seasons at Four Seasons Hotel Vancouver. Tickets: $50 through the VO Box Office: 604-683-0222.

An intimate encounter with acclaimed Canadian historian Margaret MacMillan and journalist and filmmaker Alexandre Trudeau (son of Pierre Ellliott Trudeau) as they take us behind the headlines of history. Hosted by Hal Wake, Artistic Director of Vancouver International Writers & Readers Festival. Presented in partnership with Vancouver International Writers & Readers Festival.

Margaret MacMillan in conversation with CBC’s Alison Smith. Wednesday, March 17th 7:30pm. Granville Island Stage. Tickets: $18 through VancouverTix: 604-629-8849. www.vancouvertix.com

Margaret MacMillan talks with CBC’s “World at Six” host Alison Smith about her most recent book “The Uses and Abuses of History” and her earlier chronicle “Nixon in China: The Week that Changed the World”. Presented in partnership with Vancouver International Writers & Readers Festival.

About Nixon in China; In 1972, Richard Nixon and Chairman Mao Zedong shook hands and changed the course of human events. West and East looked into each other’s eyes and discovered a vast mystery of differences and desires. Henry Kissinger, Chou En-lai, Pat Nixon and Madame Mao all play pivotal roles in this fascinating drama of psychology and global politics.  John Adams’s richly textured and lyrical score pulses with rhythm and Alice Goodman’s literate libretto resonates with poetry. Nixon in China is irresistible and gripping from beginning to end.

Presented with Vancouver 2010 Cultural Olympiad. In English with SURTITLES. March 13, 16, 18, 20, 2010. All performances 7:30 pm at the Queen Elizabeth Theatre. Tickets starting at $29 are available exclusively at the Vancouver Opera Ticket Centre, online at www.vancouveropera.ca or by telephone (604-683-0222).

Miss Laura Aikin sings ‘Teco porta, o mia speranza’ Liceu 2009.

For those who are unaware, here is the plot to ‘l’arbore di Diana’:

Diana, the goddess of chastity, has a tree in her garden that bears large apples. When one of her nymphs walks beneath it, the apples become shiny and make gentle sounds testifying to her chastity. However, if she has sinned against chastity, the apples turn black and punish her. Love, finding this rule intolerable, enters the garden and shows the gardener how to make the nymphs fall in love. He also brings the shepherd Endymion, of whom Diana herself becomes enamoured. Diana orders the tell-tale tree to be felled and Love turns her garden into a palace of love.

The Liceu promotional video for L’arbore di Diana’ 2009 2010 season.

The Teatro Real is double cast in a number of the roles. Diana: Lyubov Petrova (17, 19, 22, 24, 26), Diana: Ekaterina Lekhina (18, 20, 25),  Amore: Marina Comparato (17, 19, 22, 24, 26), Amore: Ketevan Kemoklidze (18, 20, 25),  Britomarte: Ainhoa Garmendia,  Clizia: Marisa Martins,  Cloe: Jossie Pérez,  Silvio: Pavol Breslik (17, 19, 22, 26),  Silvio: José Luis Sola (18, 20, 24, 25),  Endimione: Dmitry Korchak (17, 19, 22, 24, 26),  Endimione: John McVeigh (18, 20, 25),  Doristo: Marco Vinco (17, 19, 22, 24, 26),  Doristo: Simón Orfila (18, 20, 25). The performances will be under the baton of of the young Italian conductor, Mr. Ottavio Dantone.

Given this production arrives from San Diego, COMMANDOpera has been able to supply readers with a complete pictorial set from their dress rehearsal through the auspices of that house. All of the photographs arrive courtesy of the San Diego Opera.

Photo credit: Mr. Roger Mastroianni courtesy of The Cleveland Orchestra.

The seriously cool Cleveland Orchestra brings Mozart’s comic opera Così fan tutte to Severance Hall for four performances of a fully staged production from the Zurich Opera.  The performances will premiere tomorrow evening on March 2, an then on the 4, 6, and 8.  Music Director Franz Welser-Möst conducts the production, which he previously led in Zurich in collaboration with stage director Sven-Eric Bechtolf, set designer Rolf Glittenberg, and costume designer Marianne Glittenberg. The seats run from $68 to $222, but in the opinion of COMMANDOpera worth every dolloar spent: this is some cast!  Malin Hartelius, soprano (Fiordiligi); Anna Bonitatibus, soprano (Dorabella); Martina Janková, soprano (Despina); Javier Camarena, tenor (Ferrando); Ruben Drole, baritone (Guglielmo); and Antonio Abete, bass-baritone (Don Alfonso) all appeared in the Zurich production (with the exception of Mr. Abete).  

 
Cleveland Orchestra Music Director, Mr. Franz Welser-Möst. Photo credit: Johannes Ifkovits.

When Franz Welser-Möst led the Zurich production, Marinella Polli wrote in Corriere del Ticino: “It was a great musical evening above all because of the magic baton of Franz Welser-Möst, who offered a powerful reading of this tragicomedy in two acts, offering at the same time a powerful reading of Mozart’s genius as well.” With Franz Welser-Möst, the Orchestra has re-established itself as an important operatic ensemble. Together, they gave five sold-out performances of Dvořák’s Rusalkaat the Salzburg Festival in 2008. Last spring, Mr. Welser-Möst and The Cleveland Orchestra gave four sold-out staged performances of The Marriage of Figaro in Cleveland, marking the return of staged opera to Severance Hall for the first time in decades. Così fan tuttecontinues a traversal of the remarkable three operas created by Mozart with librettist Lorenzo Da Ponte. In 2011, the Orchestra and Mr. Welser-Möst will complete the set with staged performances of Don Giovanni at Severance Hall.COMMANDOpera has been aware of the The Cleveland Orchestra’s aspirations towards opera for some time now, and applauds the company. More orchestral companies should follow the Cleveland example. The Cleveland Opera itself can only marvel at having such a powerhouse next door which offers works so complimentary to their own season..