Richard Sasanow - Page 15

To answer the most burning question for many: Yes, Broadway's Kelli O'Hara can sing opera, acquitting herself nobly and well in the company of “real” opera singers and filling the huge Met Opera without a mike. (FYI: She did study opera herself in her early days.) She brought theatrical pizzazz and was a great partner, as the maid, Despina, for the wonderful, resonant British baritone Christopher Maltman (Don Alfonso) as the co-conspirators of the piece, in director Phelim McDermott's manic production.

'My goal at the moment is to sound like a dead Italian,' says British baritone Christopher Maltman, who stars as Don Alfonso with Broadway's Kelli O'Hara as Despina, co-conspirators against young lovers in the Met's new production of Mozart's comedy COSI FAN TUTTE. 'Or, at least, to sound like a 'live' dead Italian.'

When Christine Goerke took on the title role in the Met's revival of Richard Strauss's masterwork ELEKTRA--the final work of director Patrice Chereau--she wasn't so much competing with Nina Stemme, who sang the premiere of the production last spring, but with herself. Six months before this version first came to Lincoln Center, Goerke performed the role in concert with the Boston Symphony at Carnegie Hall and blew the roof off. She was a transfixing, sensational presence that you just couldn't keep your eyes off.

When I first heard soprano Hyesang Park and tenor Kang Wang--two of the bright young singers featured in last weekend's Juilliard and the Met's Lindemann Young Artist Program concert--they were leads in a charming production of Bellini's LA SONNAMBULA at the school. On Friday evening, they were two of the stellar performers in “An Evening of Verdi”--extended excerpts from four operas with the Juilliard Orchestra doing a fluid job under Maestro Evan Rogister, who was also particularly attentive to the needs of the singers.

When soprano Anna Caterina Antonacci walked on stage at Zankel Hall for her recital the other night, I thought I had wandered into an Antonioni movie, with a ravishing diva (usually played by Monica Vitti) about to perform for a rapt audience. Then she opened her mouth and sang the first of a series of songs by Debussy (texts by Verlaine) and I knew I was in the right place: heaven.

A lot of risk, fast rotations in perfect unison, a precarious balance point. No, I'm not talking about doing a twizzle in Olympic ice-dancing--but starring in SEMIRAMIDE by Gioacchino Rossini, a man who believed there was no such thing as too many runs, roulades and high notes. Neither did soprano Angela Meade, who fearlessly stars in the Met's current run of this dazzlingly difficult piece.

Wagner aplenty, Wagner galore. After starting the week off with the Met's PARSIFAL under the exciting Nezet-Seguin, I ended it with another Wagner, DIE WALKURE, in a sweeping account of Act I from the New York Philharmonic under its music director designate, Jaap van Zweden.

Richard Wagner's last opera, PARSIFAL, is a tough nut to crack. With its highly religious overtones, lack of action and incredible length (it ran about 5 hours 40 minutes the other night), it's not exactly a 'light night' at the opera--even if for those of us who consider opera to be a 'light night'. Still, with the right cast and conductor, it can be transcendent. The Met's new revival came pretty close to getting us there.

Opera Philadelphia's production of the George Benjamin-Martin Crimp WRITTEN ON SKIN is another feather in the cap of the company that's quickly becoming the one to watch in the world of contemporary opera.

In many areas of the arts in New York, January is a quiet month. But in the opera world, the last few weeks certainly have been jumping. It has also been a fine time for asking 'What is an Opera?' For me, January started with Prototype 2018's ACQUANETTA and ended this past weekend--with many in between--with New York City Opera's 'first mariachi opera,' CRUZAR LA CARA DE LA LUNA (TO CROSS THE FACE OF THE MOON).

Canadian soprano Barbara Hannigan took the Grammy's Best Classical Solo Vocal Album Sunday night with her mash-up of George Gershwin, Alban Berg and Luciano Berio, “CRAZY GIRL CRAZY”--not only singing but conducting the Ludwig Orchestra.

There have been starrier casts heading up Donizetti's L'ELISIR D'AMORE at the Met--put the opera's name in the NY Times search engine and the first one that shows up is the debut of the famed tenor Tito Schipa in 1932, with bass Ezio Pinza as the quack snake-oil salesman Dulcamara. But this year's principals, soprano Pretty Yende and tenor Matthew Polenzani, gave more than enough pleasure (and then some) to send the audience out cheering.

After a string of cancellations--including the Met's new TOSCA--tenor Jonas Kaufmann made a triumphant return to New York last Saturday at Carnegie Hall, in a recital with his frequent collaborator Helmut Deutsch. Of course, he could have been singing the telephone book and this audience would have lapped it up; instead, he performed Schubert's famed song cycle for tenor and piano, DIE SCHOENE MUELLERIN (THE MILLER'S BEAUTIFUL DAUGHTER).

By the time you read this, another year's edition of PROTOTYPE--New York's two-week festival of new opera-theatre/music-theatre works different from most anything you've ever seen before--will be gone and it was another to be grateful for. The last event on my list was a totally original and stunning, immersive piece called THE ECHO DRIFT, with a scintillating score composed by Mikael Karlsson, and a brilliant environmental production by Elle Kunnos de Voss in their first collaboration.

Even if it were just for its history lesson about the lavender scare of the '50s-- the witch hunt and the mass firings of gay men and women from the federal government during the McCarthy era--FELLOW TRAVELERS by composer Gregory Spears and librettist Greg Pierce would be well worth seeing. But there's so much more to the opera, which had its local debut at the New York PROTOTYPE 2018 this past weekend, directed by Kevin Newbury, at the Gerald Lynch Theatre--including some of the most gorgeous opera music in recent memory.

'Memories of Things Past'--'A la recherche du temps perdu' in Proust-speak--and very much in the past it was, for me at least, going in to ACQUANETTA, the piece that opened this year's iteration of the PROTOTYPE. Its name and purported subject--horror films--conjured up childhood memories for me. Musically and dramatically, however, ACQUANETTA--by Michael Gordon, composer (of 'Bang on a Can' fame), Deborah Artman, librettist (ditto)--was very much in the present and in a class of its own, seen January 10 at the Gelsey Kirkland Arts Center.

With less than a week until the opening of New York's PROTOTYPE 2018, I was Skype-ing with the producers--no, not Nathan Lane and Matthew Broderick--but Jecca Barry (of Beth Morrison Projects, BMP) and Kim Whitener (of HERE), who seem pretty calm. (Actually, they're two of four producers, the others being the eponymous Beth Morrison and Kristin Martin of HERE.) What's to be nervous about? After all they only have 8 new-opera/new-theatre productions (plus other events) opening between January 9th and 20th, including a couple of world premieres.

The trials and tribulations of the Met's new take on Puccini's TOSCA have been well documented--with all three principals replaced along with two conductors--and it would be nice to be able to say that everything came out happily-ever-after. Alas. There's nothing wrong with the company's surprise-free new take on one of Italian opera's most famous works that a stronger director couldn't come in and cure.

It's just about time to wish you all a happy 2018--but I'm not quite ready to put 2017 to rest. Though it won't go into the annals as one of the best years ever, there were quite enough performances and performers that made this year a winner for me, operatically speaking at least, in my corner of the world.

It was great that the 2017 Richard Tucker Gala was heard live on WQXR.org and on WQXR radio on Sunday, but those of us who were in Carnegie Hall had it much better. This year's winner, soprano Nadine Sierra, sounded wonderful (and looked ravishing, by the way) as she whipped through Verdi's 'Caro nome' (RIGOLETTO) and 'Ah, forse lui Sempre libera'), with secure high notes and thoughtful drama, and Bernstein-Sondheim's 'Tonight' (WEST SIDE STORY), paired with tenor Vittorio Grigolo. She's a charming, extremely gifted performer.