Ritorno Vincitor Hockey GOLD

By CrewMantle | Published: February 28, 2010


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A Question of Honour

By CrewMantle | Published: February 28, 2010


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.

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Mistress Arianna Zukerman

By CrewMantle | Published: February 28, 2010


Photo credit: Mr. Peter Bussian.

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.

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Phillip Addis Sea Worthy Baritone

By CrewMantle | Published: February 27, 2010


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.

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De Nederlandse 2010 2011

By CrewMantle | Published: February 26, 2010


De Nederlandse Opera in Amsterdam has released their 2010 2011 season. There is not a great deal the theatre is offering in the way of casting to transcribe to English, nevertheless It is an interesting season which offers TWELVE works for the Amsterdam opera going public. Here is a link to where tickets can be purchased and the season is further delineated.

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The Resident American

By CrewMantle | Published: February 25, 2010


COMMANDOpera came across The Florentine Opera which is a regional company centered in Milwaukee. After blinking at the screen a few times, one determined to investigate further as is the practice. The Florentine Opera generally runs three productions a year which was initially slanted rather heavily towards Italian repertoire. Why? There is a huge expatriate Italian community in the city of Milwaukee which has been around since the turn of the last century. 


The 2009 1010 season included Tosca, Rigoletto, and Elmer Gantry. Elmer Gantry? Here is what the Florentine Opera tells us;  ’Based on the satire by American novelist Sinclair Lewis (which was also the basis for an Academy Award-winning film starring Burt Lancaster and Jean Simmons), Elmer Gantry mixes traditional operatic forms with vibrant gospel hymns and ensemble to explore the complex and sometimes conflicted role of religion in American life. This quintessentially American story of love and corruption follows a fraudulent womanizer through both his rise to power and fall from grace in early 20th century rural America.’ There is something very cool about American opera companies who determine to offer a work such as this which is imminently suitable to their regional audiences. The Atlanta Opera is offering Porgy and Bess. Other regional American theatres should aspire to this model. Its brilliant. The Florentine Opera will be recording the work for the Naxos label, the first ever CD of the work  which debuted in 2007, to be released.   

And this brings readers to Mr. Keith Phares pictured above who will portray Elmer Gantry. COMMANDOpera had heard of Mr. Phares for the first time a few years back, when the artist had appeared in Béatrice et Bénèdict. The artist is in demand at every house, and where he has appeared, esteem Mr. Phares for his courtesy to colleagues and overall professionalism across the board. COMMANDOpera determined to speak with the Elmer Gantry himself to get a perspective on the work. Emails were exchanged, and a time was arranged to speak with Mr. Phares [Actually there were a few conversations. Mr. Phares' partner who is also an opera singer in the mezzo range was away that first afternoon call, with Mr. Phares looking after their two rather young children. It is enough to say, the eighteen month old inherited the lungs of both his parents and the call was short lived and rescheduled for the following day]. In researching the background of Mr. Phares one found the artist had invested a great deal of his professional career in the continental U.S. and the bulk of the artists repertoire was from both British and American composers.

Mr. Phares in duet with Miss Rivera, Elmer Gantry Nashville 2007.

COMMANDOpera could not imagine why it was possible for a lyric baritone of Mr. Phares’ obvious appeal both vocally and physically was not involved with the more traditional repertoire one generally follows. Mr. Phares indeed has taken on a number of roles one would recognise; Sharpless, Almaviva, Mercutio (though it is the buffo repertoire which the artist isn’t offered often that he would really enjoy working with. Who knew one could be typecast simply by owning matinee idol features). In pressing the artist as to other roles which would be of interest (read; which suited COMMANDOpera), he gave in with Wozzeck, though too dark for his instrument at this time. Chou en Lai in Nixon in China was also on the table (he is in fact doing this role in Portland). But at the real heart of Mr. Phares which hit this writer like a blunt object were the words; Contemporary Opera. One did not see that one coming, however in reviewing his career trajectory it made a great deal of sense. This is a man whose favoured composer is Mr. Benjamin Britten. Mr. Phares might have sensed my disconcertedness, and advised that it was with contemporary works that he had finally realized his artistic identity.

Mr. Phares in Sweeny Todd.

Mr. Phares also confided that he prefers working in the English language which one found amusing only because this is the first time an American artist actually admitted to the obvious comfort of working in one’s native tongue. COMMANDOpera could not help but feel a great admiration for the man with a golden voice and matinee idol looks who resolutely determines to enjoy his career the way he see’s it as it should be. Mr. Phares calendar is heavily booked as the baritone is in high demand through out America. Will COMMANDOpera ever know a Nabucco from the golden vocal instrument of  highly regarded Mr. Phares? After speaking with the artist one can hope to live another 20 years when he might determine, that perhaps, yes perhaps…. maybe.

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Mr. Filianoti in Lucrezia Borgia

By CrewMantle | Published: February 25, 2010


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.

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ATTILA review from The Times

By CrewMantle | Published: February 24, 2010


Since COMMANDOpera could not be there, we certainly trust what Mr. Tommasini of the New York Time would have to say and indeed we could only agree. Here is the link: http://www.nytimes.com/2010/02/25/arts/music/25attila.html?ref=music

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DALLAS OPERA 2010 2011

By CrewMantle | Published: February 24, 2010

DON GIOVANNI (October 22, 24(m), 27, 30, Nov. 5 & 7(m), 2010)


Soprano Georgia Jarman, described by Opera News as a singer who performs “with glittering precision and high-flying ease” will appear as the obsessed Donna Elvira in her company debut. She will be joined by soprano Claire Rutter, who makes a welcome return to the Dallas Opera as Donna Anna. Ms. Rutter was lauded by Rupert Christiansen in The Daily Telegraph (U.K.) for possessing “an ease, command and tonal splendor I haven’t heard equaled for a generation.” Tenor Bruce Ford will sing the role of the courageous Don Ottavio, a characterization described by Rodney Milnes of The Times (London) as “unusually intense.” Baritone and international heart-throb Mirco Palazzi will make his American debut as the harried Leporello, and soprano Ailyn Perez (Zerlina) and Ben Wager (Masetto) make their first bows on the Dallas Opera stage as young lovers on their way to the altar – who unexpectedly find themselves the targets of a master schemer! The all-important role of The Commendatore will be sung by one of the most interesting basses performing today: Morris Robinson in his Dallas Opera debut. According to the Washington Times, his “chilling return as the Stone Guest (in this production) is the highlight of a marvelously graphic finale.” Mozart’s 1787 masterpiece, thought by many to be his finest work, will be conducted by Romanian Maestro Nicolae Moldoveanu, who made his Dallas Opera debut in 2004 conducting a double bill of works by composer Manuel de Falla. It is both directed and designed by John Pascoe, with lighting design by Jeff Davis in his company debut. The Dallas Opera Chorus will be prepared by Chorus Master Alexander Rom. DON GIOVANNI was last performed at the Dallas Opera in 2003.

ANNA BOLENA (October 29, 31(m), November 3, 6, 12 & 14, 2010)


As the Dallas Opera renews its commitment to a semi-repertory format which will permit visitors to experience two different operas on consecutive days, the second production of the “Dangerous Desires” Season, Gaetano Donizetti’s Lyric Tragedy ANNA BOLENA, opens Friday, October 29, 2010 in a new production conducted by Music Director Graeme Jenkins and staged by director Stephen Lawless. This compelling 1830 drama, the chapter of the “Tudor Trilogy” that details the final days of Anne Boleyn (the controversial second wife of England’s King Henry VIII), stars Armenian soprano Hasmik Papian (Queen Elizabeth I in the Dallas Opera’s 2009 production of Roberto Devereux), a powerful stage presence in the title role. The tyrannical King Henry will be portrayed by Brooklyn-born bass Oren Gradus, a favorite of Metropolitan Opera audiences. Boleyn’s rival for the King’s affections, Jane Seymour, will be sung by renowned American mezzo-soprano Denyce Graves, “a vital artist, a beautiful woman, (and) a regal presence” (The Washington Post). Tenor Stephen Costello, “one of the brightest rising U.S. stars” (The Sunday Times), who returns to the Dallas Opera this spring in the key role of “Greenhorn” in the world premiere of Jake Heggie and Gene Scheer’s Moby-Dick, portrays the tragic Lord Percy. American bass Mark McCrory sings the role of Anne’s brother – Lord Rochefort, with mezzo-soprano Elena Belfiore in her American debut as the misguided Smeton and California-born tenor Aaron Blake as the secretive Hervey. The production team includes Scenic Designer Benoit Dugardyn, Costume Designer Ingeborg Bernerth, Associate Costume Designer Julia Müer and Lighting Designer Mark McCullough. The Dallas Opera Chorus will be prepared by Chorus Master Alexander Rom. ANNA BOLENA has only been performed twice at the Dallas Opera, in 1968 and 1975.

ROMEO & JULIET (February 11, 13(m), 16, 19, 25 & 27(m), 2011)


The third production of the “DANGEROUS DESIRES” Season is Charles Gounod’s ROMEO & JULIET, one of the most successful stage adaptations of a work by William Shakespeare. This 1867 opera swiftly propels us into the heart of one of the world’s best-loved (although doomed) romances. Maestro Marco Zambelli, in his Dallas Opera debut, conducts the Dallas Opera Orchestra and a tremendous, international ensemble directed by Michael Kahn, artistic director of Washington, D.C.’s Shakespeare Theatre Company. Starring in the title roles are Russian soprano(Juliet), whose recent appearance with the Dallas Opera in The Marriage of Figaro prompted Classical Music Critic Scott Cantrell to write: “Petrova is an adorable dynamo of a Susanna, as sweet as she is feisty and playful…Her soprano can blaze but also lap teasingly and glow warmly;” and one of the most sought-after performers working in opera today: American tenor Charles Castronovo (Romeo), a frequent guest artist of the Metropolitan Opera, San Francisco Opera, Covent Garden, Paris Opera and many other prestigious companies and venues – now making his thrilling Dallas Opera debut. The remainder of the cast includes a host of international stars: British bass Robert Lloyd as Friar Lawrence; baritone Joshua Hopkins as Mercutio; mezzo-soprano Jane Bunnell as Gertrude; tenor Aaron Blake as Tybalt; bass Stephen Morscheck as Capulet; baritone Stephen LaBrie as Paris; and mezzo-soprano Roxana Constantinescu in her American debut as Stephano. This production, originally designed for Montréal Opera and never before seen in Dallas, is the creation of Production Designer Claude Girard and Lighting Designer Mark McCullough. The first of six performances will take place on February 11, 2011 in the Margot and Bill Winspear Opera House. Chorus preparation is by Dallas Opera Chorus Master Alexander Rom. ROMEO & JULIET was last performed by the Dallas Opera in 1995.

RIGOLETTO (March 25, 27(m), 30, April 2, 7 & 10(m), 2011)


One of the most popular works in the repertoire will return to the stage the evening of Friday, March 25, 2011, when the Dallas Opera presents the revival of Giuseppe Verdi’s RIGOLETTO, for its first performances in the Winspear Opera House. Conducted by Maestro Pietro Rizzo, who elicited excitement from local audiences when he made his American operatic debut conducting our most recent revival of La bohème, this powerhouse drama will be staged by director Harry Silverstein with sets by Tony Award-winning designer Michael Yeargan, costumes by the legendary Peter J. Hall and lighting by Steven Strawbridge. RIGOLETTO will star Bulgarian baritone Vladimir Stoyanov, a Verdi specialist making his company debut in the title role, Texas-born coloratura soprano Laura Claycomb will make her long-awaited Dallas Opera debut as Gilda and tenor James Valenti, who wowed North Texas audiences as Rodolfo in the 2009 production of La bohème and won that season’s “Maria Callas Debut Artist of the Year Award,” now portrays the magnetic but malevolent Duke. Bass Raymond Aceto (who last appeared in Otello as the Venetian Ambassador) returns to the Dallas Opera stage as the cold-blooded assassin, Sparafucile. This production also stars mezzo-soprano Kirstin Chavez in her Dallas Operadebut as Maddalena. Tenor Aaron Blake (this year’s Dallas Opera Emerging Artist)appears in the role of Matteo Borsa. Chorus preparation is by Dallas Opera Chorus Master Alexander Rom. RIGOLETTO was last performed by the Dallas Opera in 2001.

BORIS GODUNOV (April 1, 3(m), 6, 9, 15 & 17(m), 2011)


It’s an historic season finale, as the Dallas Opera presents, for the very first time, Modest Mussorgsky’s towering masterpiece BORIS GODUNOV. Originally completed in 1869 and subsequently revised by Mussorgsky, BORIS GODUNOV holds a special place in the repertoire and is the single most recorded Russian opera. The Dallas Opera will perform this work – absent from any stage in Dallas since a Metropolitan Opera tour in 1978 – in a stunning production from the Royal Opera House, Covent Garden. The Dallas Opera Orchestra and ensemble cast will be under the direction of Music Director Graeme Jenkins, with chorus preparation by Chorus Master Alexander Rom. The huge, ensemble cast includes internationally acclaimed bass Mikhail Kazakov, a highly regarded star of Moscow’s Bolshoi Theater, in his Dallas Opera debut in the title role; mezzo-soprano Elena Bocharova, hailed for a voice that “blooms at both top and bottom” in her company debut as Marina; and Kazakhstan bass Vitaly Efanov making his company debut as Pimen. It also marks the return of one of the world’s most renowned bass voices to the Dallas Opera stage: Sergei Leiferkus, who gave searing performances in our earlier productions of Beethoven’s Fidelio and Wagner’s Lohengrin, in the role of Rangoni. “To produce BORIS for an opera company is like doing the Russian Ring,” says Dallas Opera Music Director Graeme Jenkins. “It’s one of the biggest pieces in the repertoire and it’s a fantastic opportunity to bring new audiences into the Winspear to see this epic, enormous piece.” BORIS GODUNOV, never before performed by the Dallas Opera, opens on Friday, April 1, 2011 in the Winspear Opera House.

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Traviata at the Wielki

By CrewMantle | Published: February 24, 2010


Pictured above is the Teatr Wielki in Warsaw, Poland. COMMANDOpera will begin covering events from this illustrious theatre beginning with tomorrow evenings La Traviata. The classical music traditions in Poland run deep, enjoying a list of notable composers which represent a whose who internationally. The theatre was built on Theatre Square between 1825 and 1833,  from Polish classicist designs by the Italian architect Antonio Corazzi of Livorno, to provide a new performance venue for existing opera, ballet and drama companies active in Warsaw. The building was remodeled several times and, in the period of Poland’s political eclipse from 1795 to 1918, it performed an important cultural and political role in producing many works by Polish composers and choreographers. After the building’s bombing and near-complete destruction in World War II, the theatre was rebuilt, and the building reopened on November 19, 1965, after having been closed for over twenty years. Poland historically is a nation which did not aspire to the notion of empire, but rather found greatness within its borders through correctness, excellence, and respectability. COMMANDOpera has known many Poles over the years, and there is indeed a resolute steadfastness which is found within both men and women alike. They are a unique and proud people who extend their hand to outsiders cautiously these days. Here is a first hand example. Artistically within the milieu of opera today, there exists a baritone who in the opinion of COMMANDOpera, is unrivalled by any artist today or in recent memory within his vocal range: Mariusz Kwiecien. COMMANDOpera went live with an extensive profile on this critically important artist, which apparently was not precisely to Mr. Kwiecien’s liking. Unfortunately, affairs went south from that moment onwards due to a series of miscommunications between this venue and the artist through his management. Truly unfortunate, nevertheless, COMMANDOpera esteems Mr. Kwiecien greatly.    

   
This is the rather edgy introduction to the Wielki Traviata: 

“It’s better to burn out than to fade away
Kurt Cobain

The newest premiere of Treliński – Kudlička team returning to the Teatr Wielki – Polish National Opera with a production prepared specially for Warsaw’s public. In their productions the word-renowned duo enchants the public with stunningly beautiful stage images and departure from opera conventions. The director skillfully initiates a dialog with contemporary spectators, encouraging them to look for their own life reflections in the opera word. Traviata, one of the most popular operas, a work of Giuseppe Verdi, master of the genre, is an immortal story of impossible love, lack of fulfillment and sacrifice. The producer does not forget that the opera was a scandalous work and its world premiere shocked the public outraged by the fact that the main heroine is a prostitute. Interpreted by Treliński, who excels at drawing some mythical potential from realistic stories; the story of the profoundness of feelings and the dimension of sacrifice may become a new universal piece among his work.”


La Traviata. Photo credit: Mr. Krzysztof Bielinski courtesy of the Teatr Wielki 2010.


La Traviata. Photo credit: Mr. Krzysztof Bielinski courtesy of the Teatr Wielki 2010.

The opening night performance is under the baton of Mr. Miguel Gomez -Martinez. Miss Aleksandra Kurzak will portray Violetta Valery, Mr. Sebastien Gueze as Alfredo Germont, Mr. Andrej Dobber as Giorgio Germont. The roles are double cast as the performances run intermittently through May. Here is the direct link in English for your perusal.

Miss Kurzak portrays Cleopatra ‘Se Pieta’ Hamburg. 2005.

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COMMANDOpera Perspective

By CrewMantle | Published: February 23, 2010


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.

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Nelligan Opera de Montreal

By CrewMantle | Published: February 23, 2010


COMMANDOpera recalls flying in for the prima of Nelligan, a new operatic work which was much discussed in the press 20 years ago as a symbol of French Canadian opera. Premiering on February 24, 1990, in the Grand theatre de Québec, featuring a cast of pop singers, the romantic opera Nelligan was also performed in Montreal and Ottawa; the work was revived in 2005 in Montréal in an abridged version, with a new cast, a symphonic setting, and arrangements by Gilles Ouellet. To highlight the 20th anniversary of Nelligan’s premiere, the Atelier lyrique de l’Opéra de Montréal will give an intimate operatic version utilizing piano and cello. Nelligan will run for five performances on alternating nights commencing the evening of March 6. The cast will star Quebec tenor Marc Hervieux as Old Nelligan, Young Nelligan Mr. Dominique Côté, Émilie Nelligan Miss Caroline Bleau, David Nelligan Mr. Stephen Hegedus.

Composer Andre Gagnon performs a movement from Nelligan on piano.

For those who are unaware, which is most of you, here is the plot to Nelligan:

Taking place over two acts, and jumping back and forth in time, alternating between Montreal and Saint-Jean de Dieu Hospital, the story of Nelligan shows us the poet both young and old, sometimes facing himself, in an overview of his life, recalling childhood memories (quartet: Elle a glissé de son lit), the impetus of his inspiration, and his awareness of being a poet (Émile’s aria: Tout me fait peur). Émile, both sensitive and fragile, tries to assert himself, as a man and as a poet, and lives his life intensely among artists like him, young and full of dreams (Charles’ aria: La Chasse-Galerie, and old Émile’s aria: Au bout d’un long couloir). His loving mother Émilie feels her son slowly slipping away (Émilie’s arias: Baudelaire a tué son sourire and Je veux mourir). Through his recitatives, Émile’s father David harshly expresses his disagreement with Émile’s life, and his shame that his son is a French Poet. Émile sings with elation of his joy at having found his calling (Émile’s aria: La Romance du vin).

In the second act, the curtain rises on a church filled with the sounds of a Gregorian chant; Émile has spent the night there, having decided not to go home to face his parents. Young Émile and Old Émile converse. Meanwhile, Émile’s two sisters (Eva and Gertrude), his mother, Father Seers—his long time protector—, and the journalist Françoise go on and on about the poet’s situation (Françoise’s aria: L’indifférence and trio: Si je pouvais faire quelque chose). Émile worries that one of his poems may cause him trouble, and his fear grows stronger (Émile’s aria: Air de l’asile). His father David tells Émile of his hope of having brought into the world an heir to his Irish roots (Quand tu es né), and bluntly tells him he is insane. Indeed, everyone believes that Nelligan, despite his talent, is descending into madness and must be locked away. Arthur de Bussières still defends the poet and dreams of evolving alongside him (aria: Oui, je nous vois…). With fear in his eyes, Nelligan sings of his turmoil (De quoi suis-je coupable), and his mother is overcome with profound guilt (Émilie’s aria: La dame en noir). Émile, now old, sings with resignation at the end, through his most famous poem, Le Vaisseau d’Or.

COMMANDOpera has attempted to speak with Mr. Hervieux who is portraying Old Nelligan, however the planets simply do not seem to be aligned at this time. Perhaps when the opportunity presents itself, the article will be updated accordingly. Until then, one would be remiss to not invite readers to hear the creamy vocal instrument of this tenor. Here Mr. Hervieux performs ‘Una furtiva lagrima’ from L’elisir d’amore by Gaetano Donizetti;

Festival Orgue et Couleurs, Montreal. November 2009.

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A Night out at the Mariinsky

By CrewMantle | Published: February 23, 2010

Amateur Video warning…. but a serious must watch!

COMMANDOpera was looking into the what’s playing at the Mariinsky in St. Petersburg (quite a lot actually), and came across this video whilst researching a particular young Russian soprano. For North American readers, this should illuminate not only the theatre, but the incredibly relaxed, everyday feel the Mariinsky enjoys with its patrons. COMMANDopera was immediately taken by the huge number of young people in the audience who came to hang out and watch this Siegfried. It is so off the hook to know that in Russia and Europe, opera is such a sustained part of the national fabric it plays to packed houses, as a movie theatre would in North America. Nobody it seems feels a need to dress up for the Mariinsky, not even Maestro Gergiev who looks like he forgot to shave again (the orchestra made an effort COMMANDOpera is pleased to note). Also highly amusing is the cast member stage left at 3:16. Great GREAT fun..

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ATTILA Final Dress Photographs

By CrewMantle | Published: February 22, 2010











All of the above Photographs arrive courtesy of The Metropolitan Opera. Credit: Ken Howard.

COMMANDOpera can now offer its global readership this final set of photographs from the dress rehearsal of Attila which have just arrived from The Metropolitan in New York. COMMANDOpera determines this new production by Pierre Audi to be sensational. Pictured are the principals, Mr. Ildar Abdrazakov as Attila, Miss Violeta Urmana as Odabella, Mr. Ramon Vargas as Foresto, and Mr. Giovanni Meoni as Ezio. COMMANDOpera has been given to understand the principals are all in top form, and Maestro Muti at the very pinnacle of his powers. Those attending the opening night prima tomorrow are going to witness a brilliant evening. COMMANDOpera offers warm regards for an excellent evening to Mr. Abdrazakov, Maestro Muti, and the rest of this excellent cast.

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Ildar Abdrazakov Exclusive

By CrewMantle | Published: February 22, 2010


Photo Credit: Mr. Alexander Vasiljev.

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.

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Mr. Paul Groves in COMMAND

By CrewMantle | Published: February 21, 2010


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.

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Sunday Matinee Ahmed el Salam

By CrewMantle | Published: February 21, 2010


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.

‘Mahgreb’

‘Andalousia’

‘Ben sidi slimene’

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Damnation of Faust at the Lyric

By CrewMantle | Published: February 20, 2010

 

And so the performance begins… there is no prelude. Mr. Groves is in sublime voice for ‘Le vieil Hiver’. Sir Andrew Davis handles the Berlioz score perfectly. The clarity one associates with Berlioz is not muddied in the slightest, testament to Sir Andrew’s numerous appearances with the Lyric Opera.


The Hungarian March is estimably handled, one is almost waiting for The Merry Widow to enter, but that would be another opera, another time. Curious the relative synonymous approach to French composers by Mr. Davis. And now we here the next air of Faust; ’Sans regrets’. The difficulty of singing Berlioz is obvious… these notes are all over the scale. Mr. Groves is simply deliriously off the hook. Once again the Lyric Opera chorus exhibits its superiority among the global houses, with crystal sharp resonance. One wonders how Mr. Groves will be able to maintain this top drawer pace..

Enter Mephistopheles in the guise of Mr. Relyea. This Mephistopheles is very comfortable with the French language.





And now we hear from Brander. Mr. Christian Van Horn who is slightly flat, but soldiers on.



The fugue on the theme of Branders song is elegaic and is delightful.


Mephistophele’s air ‘Une Puce Gentile’ begins. Mr. Relyea tosses off the piece with interesting agility. This is followed by ‘Voici des roses’ with the chorus of gnomes and sylphes…


The Ballet of the Sylphs proceeds in suitably dream like fashion. Mephistophele insists on taking Faust to view Marguerite in her room as we are accompanied by the soldiers chorus and student song which are agreeably handled.


And so we head into the intermission.



And now to Faust’s air ‘ Merci, doux crepuscule’. Mr. Groves maintains a vocal execution which is nothing short of perfect. The gentlest piano. Extraordinary. Air just ended…. in any other city the audience would have went bonkers (however either to the credit of the Chicago audience’s good manners or they don’t know Berlioz, the opera continues unsullied.

Enter Marguerite. Miss Graham, an intelligent singer, begins on par with the other artists and commences the Roi de Thule air. The air holds few difficulties for Miss Graham, and although a delicate rendering of the piece, one might have been lifted to a slightly higher plane. Audience applauds. Oh well. This is followed with Mephistopheles invoking the Will O’ the Wisps who determine to perform a minuet. Mr. Relyea’s voice appears to betray a hint of strain in the higher register, without question borne out of fatigue. In deference to Mr. Relyea, this is an extremely taxing role.





Mr. Groves continues to amaze as he and Miss Graham begin their scene together. The two artists blend together beautifully in duet. Mr. Groves the stronger of the two, although only in the most professional manner. Delirious sumptuous singing for the most part as both artists continue to play to each other with great ardour. Enter Mephistophele who portends much trauma for the couple.



Part three comes to a conclusion…. no high notes as this would not be the way Berlioz does things..

We are 3 months later in the storyline and begin with Marguerite’s romanza ‘D’amour l’ardente flamme’. Miss Graham handles the opening phrases with all the desperate yet quiet intensity these words deserve. At points the air provides a few challenges for Miss Graham who attempts an inwardness to the air which generally works. In the higher register Miss Graham is strident and wisely does not hold these notes when they are written and therefore obliged. A more shaded and coloured rendering of the air could have been managed. Audience applauds. I would not have.




Mr. Groves begins the air ‘Nature immense’. There is minor wear to his vocal instrument, however, this could only be noticed by the most discerning ear. This artist is a marvel of nature COMMANDOpera is coming to believe. The handling of every note has seen his loving care. He is a pleasure to listen to. Enter Mr. Relyea who is in command of his instrument quite decidedly. The exchanges are a duel, and rivetting drama. They begin their ride to the abyss. Sir Andrew once again is noticed for the brightness he brings to this slightly Wagnerian moment. The orchestration builds and the vocals take a back seat. WOW. Brilliant tempo! What I would give to be in the theatre at this moment!



The chorus which has played a significant part in the opera continue to hold it down for the finale. First the male portion with Mephistophele’s and then the female contingent as they welcome Marguerite to heaven.

All of the photographs appear courtesy of the Lyric Opera of Chicago. Credit: Mr. Dan Rest and Mr. Robert Kusel.

The evening without question was owned by Mr. Groves. From the moment the tenor took to the stage, his singular and intense portrayal of the damned Faust belonged to the pantheon of the most worthy exponents. The Mephistophele of Mr. Relyea was extremely well executed, and his performance merits great applause. Miss Graham was perhaps the least impressive of the principal artists. Marguerite is not a large role by any standard, and although the music of Berlioz is difficult to sing (for everyone), somewhat more should have been achieved. The Lyric Opera chorus lived up to its extraordinarily high standards given this thorough work out. They should have been paid double given they had more to sing then some principals. And then there was the conducting of Mr. Andrew Davis; who just about stole the thunder from everyone, such was the temperature variations throughout the performance. COMMANDOpera admires greatly a conductor who appreciates the obvious importance of vocal instruments in opera. However, when a conductor not only underlines the drama, but manages to actually lift the notes to another sphere entirely, this is true greatness held by very few.

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House of the Dead at La Scala

By CrewMantle | Published: February 18, 2010


From the House of the Dead by Leos Janacek will be mounted at the Teatro alla Scala for six performances beginning the evening of February 28. This is the same production which played at the beginning of the season at The Metropolitan to HUGE acclaim and is considered something of a masterpiece by Mr. Patrice Chereau. Powerful music of irresistible poetry that conjures up images of Dostoevsky deported to Siberia. From the House of the Dead seems a prophecy of the Nazi concentration camps and Stalin’s gulags, described in 1928 by Mr. Janacek, a genius of Czech music. COMMANDOpera has included a synopsis of the work below with inclusions of video’s from The Metropolitan performances of key points in the drama. A truly incredible work which readers must take the time to peruse.

Mr. Chereau discusses From the House of the Dead.

All peformances will be conducted by Mr. Esa-Pekka Salonen whom COMMANDOpera favours greatly for his agile and humanistic handling of the works he determines to essay.  The casting? Alexandr Gorjančikov Mr. Willard White, Aljeja Mr.Eric Stoklossa, Filka Morozov Mr. Stefan Margita, Big prisoner Mr. Peter Straka, Small prisoner Mr. Vladimir Chmelo, Prison Governor Mr. Jiri Sulzenko, Old prisoner Mr. Heinz Zednik,  Skuratov Mr. John Mark Ainsley, Cekunov  Mr. Jan Galla, Drunk prisoner Mr. Thomas Krejcirik, Priest  Mr. Aleksandar Stefanoski, Young prisoner Mr. Olivier Dumait, Prositute Miss Susannah Haberfeld, Don Juan- Brahmin Mr. Ales Jenis, Kedril  Mr. Marian Pavlovic, Šapkin Mr. Peter Hoare.

For most of you who are unaware of the plot…

ACT 1
In the courtyard of a prison camp on the Irtyš, in Siberia.
While they work in the early morning, the inmates argue amongst themselves and talk of a newcomer, a nobleman named Aleksandr Petrovič Gorjančikov.

He is a political prisoner and the Commandant gives orders for him to receive a hundred strokes of the lash, immediately. Indifferent to Gorjančikov’s cries of pain, the prisoners torment an eagle with clipped wings, albeit admiring the bird’s pride. After a while, by order of the Commandant, they are dragged away by the guards to work. Half of them go off to their forced labour while singing a sad song. Among those remaining is Skuratov, who sings snatches from a cheerful motif and starts an argument with Luka. Remembering his life in Moscow, where he worked as a cobbler, Skuratov flings himself into a wild dance until he collapses with exhaustion. For his part, Luka, intent on sewing, recounts how he had already been imprisoned the first time, for vagrancy. On that occasion he had incited his fellow-inmates to rebel, killing the major who had intervened to quell their revolt. For this reason he had been flogged almost to death. The Older Prisoner, who can no longer distinguish life from death, asks Luka if he really had died. In the meantime Gorjančikov, who has just been similarly punished, is brought back by the guards.

ACT 2
One year later, on the banks of the Irtyš, with a view of the steppe.
The prisoners are working around a boat. Gorjančikov asks the tartar Aljeja about his family and offers to teach him to read and write; and his proposal is enthusiastically accepted. The distant sound of bells announces Easter, during which the prisoners produce theatrical performances. Arriving to attend one of these are the Commandant, with the Pope and guests. While the prisoners sit down to eat, Skuratov tells his story. In a German city on the Volga, he had fallen in love with a girl, Louisa. She however had been induced to marry an old relative. So Skuratov went to the engagement party and killed the fiancé. But the prisoners are thinking only of the theatre. Now two plays are performed, for the most part as pantomimes.

The first is Kedril and Don Giovanni, where, on stage in addition to the dissolute libertine, finally carried off by devils, and his servant Kedril, are Elvira, a knight, the cobbler’s wife and the pope’s wife. The second play is The Pretty Miller’s Wife. While her husband is away, the protagonist receives her lovers. But the men are forced to hide one after the other as the next lover arrives. The miller enters suddenly and throws the first two out of the house. But he is killed by the third, a Brahman who turns out to be Don Giovanni. The Don transforms himself into a devil and dances the miller’s wife to death. As darkness gathers, when the performance is over the prisoners return to the camp, singing popular songs. The Young Prisoner goes with a Prostitute. Then the Small Prisoner, irritated by Gorjančikov’s aristocratic manners, hurls a teapot at him. But he misses Aleksandr Petrovič and strikes Aljeja instead, seriously injuring him. The guards hasten to restore order.

ACT 3
In the camp infirmary, early evening.
The inmates lying ill on their bunks are Aljeja, watched by Gorjančikov; Šapkin, the Older Prisoner; the moribund Luka; and Skuratov who is by now mad. Night falls, and when the other prisoners go to sleep, Šiškov tells Čerevin his own tragic story.

He murdered the woman he loved, Akulka, who had been Filka Morozov’s fiancée. After receiving the dowry money, Morozov had however refused to marry the girl, claiming that he had already possessed her. Alkulka had then been forced to marry Šiškov, who was ready to beat her on their wedding night, but found her virginity intact. When Šiškov rebuked Filka for slandering Akulka, Filka had retorted by suggesting that Šiškov was too drunk that night to have been able to judge the girl’s condition. When later, after a severe beating, Akulka had confessed that, despite everything, she still loved Filka, Šiškov had murdered her. During this story, Luka’s groans get louder until he dies, just as Šiškov evokes the moment in which he stabbed Akulka to death. Only after Luka’s death does Šiškov recognise him as the hated Filka, whom he curses. At this point the Older Prisoner comments that Filka, too, had a mother.

In the courtyard of the prison camp.
The Commandant, who is drunk, informs Gorjančikov that his application for release has been approved. Aleksandr Petrovič’s chains are removed and he is now at last a free man. Aljeja comes to say goodbye to him and the prisoners celebrate his discharge by letting the captured eagle attempt to fly. But the orders shouted by the guards to resume their hard labour immediately brings the prisoners back to the grim reality of their imprisonment.

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Tannhauser at Den Norske Opera

By CrewMantle | Published: February 18, 2010


Beginning with a sold out opening night on March 6th, Den Norske Opera is offering a new production Maestro Richard Wagner’s Tannhauser for a run of nine performances. 

Three weeks before he died, Maestro Wagner is quoted in his wife’s diary to have said: “I still own the world a Tannhäuser!” Ever since its moderately successful premiere in Dresden in 1845, the romantic opera Tannhäuser occupied Wagner’s mind. The Parisian version of 1861 and the Viennese adaptation of 1875 are but attempts of finding a definite form for the drama. Hence, the piece remains a fragmented patchwork, a splintered vision of romantic opera and continues to display the chasms of reality and art.

Wagner is always concerned with the implementation of redemption in his works: redemption not only for the figures within his plots, but also redemption for the form itself. The apogee is to be found in his last opera Parsifal which he has termed a Bühnenweihfestspiel – a unique nominal construction. Tannhäuser however is embedded in the form of romantic opera and thus poses questions to the genre itself on its progressing way towards modernity as well as to the possible bridges between the illusions we like to term reality.

Over 150 years after the scandalous Parisian premiere, which enraged the infamous but influential Jockey Club so fiercely that after only three performances, Maestro Wagner withdrew his score, the Norwegian Opera presents this version for the very first time. Actually, Tannhäuser in Paris signaled a starting point to modernism, and writers like Baudelaire, painters like Fantin-Latour and Cézanne immediately understood the dramatic climax of the artistic soul on musical trial here. It is therefore not surprising to find in the pinnacle of aestheticism, Oscar Wilde’s The Picture of Dorian Gray, a reference to Maestro Wagner’s opera: “Dorian Gray…felt a curious delight in the thought that art, like nature, has her monsters, things of bestial shape and with hideous voices…He would sit in his box at the opera…listening in rapt pleasure to Tannhäuser and seeing in the prelude to that great work of art a presentation of the tragedy of his own soul.”

These performances will be conducted under the much acclaimed baton of Mr. Christian Badea. This Tannhasuer is directed by the rising young Norwegian, Mr. Stefan Herheim, who has made a name for himself regarding the mountings of Wagner’s works. Tannhauser is double cast with Mr. Gary Lehman and Mr. Scott MacAllister. Elisabeth is also double cast with Miss Elisabet Strid and Miss Itziar Gados, while Venus is double cast with Miss Judith Nemeth and Miss Tuija Knihtila.

Mr. Lehman sings a rather excellent ‘Isolde Kommt’ in concert.

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