Richard Sasanow - Page 25

It's been a big year for soprano Lisette Oropesa, with starring roles at major European houses. But in this country, it's something else entirely: She won the Richard Tucker Award and the Met's Beverly Sills Award. That was followed by a pair of name-above-the-title roles, her first at the Met: her role debut in Massenet's MANON and, this week, her house role debut as Verdi's Violetta in LA TRAVIATA.

With great success, Juilliard's Marcus Institute for Vocal Arts, including a notable alumna, Felicia Moore, as Susan B. Anthony, along with members of the New York Philharmonic under Daniela Candillari performed Louisa Proske's production of the Gertrude Stein-Virgil Thomson opera THE MOTHER OF US ALL. It took place in the Engelhardt Court of the Metropolitan Museum of Art, as part of the MetLiveArts series.

I was delighted to hear that the Oratorio Society of New York's world premiere at Carnegie Hall of SANCTUARY ROAD (Naxos 8.559884)--a work for orchestra, chorus and a quintet of soloists--had been captured on disc. Not only is the story worth bringing to a broader audience, but the magic of the work, composed by Paul Moravec with a libretto by Mark Campbell based on the writings of William Still, “a conductor for the Underground Railroad,' merits hearing over and over again.

Welcome to the Met, AGRIPPINA: It's about time. Handel and his librettist, Vincent Grimani, knew that certain stories are timeless--like corruption in government--and this one has plenty of twists and turns...and even some belly laughs. It was the perfect piece for an ingenious director, Sir David McVicar, and a spectacular singing actress, mezzo Joyce DiDonato, aided and abetted by conductor Harry Bicket and the Met's perfectly Baroque pit band. The result was an unusual combination for early music: great music and great fun. I suppose that's why it became such a big hit for Handel.

There must be something in the air, with a couple of New York's small opera companies transporting 19th-century German Romantic operas by Weber and Wagner to Texas within a couple of months, in search of ways to attract new audiences. The first was Weber's DIE FREISCHUTZ from Heartbeat Opera, now On Site Opera's new production of Jim Luigs' and Scott Warrender's DAS BARBECU, complete with all the fixin's at Hill Country Barbecue Market on West 26th Street in Manhattan.  

Maestro Gustavo Dudamel, who usually leads the LA Philharmonic, took a busman's holiday to NY for a brace of performances with his orchestra's East Coast counterpart, the New York Philharmonic. His reputation as a master on the podium is not overrated: I can't think of a more understated, yet fully controlled, performance than the one I heard Friday night at Lincoln Center's David Geffen Hall, with Schubert and, especially, Mahler on the bill.

This year's edition of PROTOTYPE, which refers to itself as 'Opera-Theatre-Now,' has come and gone. You never know what to expect, for better or for worse: Try guessing what's going to be 'the next big thing' at your own peril, even if it has played somewhere else first, for they things might not be what you expected at all.

It may surprise you to learn that Stephen King didn't write 'The Shining' and Sister Helen Prejean didn't write 'Dead Man Walking.' Even more, you may be startled to learn that Herman Melville didn't write 'Moby Dick' and Louisa May Alcott didn't have a hand in 'Little Women.' Well, of course they did--except when it came to turning the works into operas. Then, respectively, Mark Campbell and Terrence McNally took over, as did Gene Scheer and Mark Adamo.

'The grace of the Lord Jesus be with God's people. Amen.' And so ends the Book of Revelation, with Chapter 22, in the New Testament...or does it? In speaking with creator-librettist Cerise Lim Jacobs, I find someone who clearly believes that too much is never enough. Thus, she decided that there was room for one more chapter after the Apocalypse of Revelation 22: REV. 23, an opera making its New York debut at the Prototype Festival 2020.

I admit this is an absolutely personal, totally one-sided view of what gave one man opera thrills last year and what I will look back on with delight. Some are old works, some are new, some are individual performers, some are ensembles, some are complete productions, some are merely the highlight of an evening, most are domestic, a few are foreign. In any case, as the new decade begins, I recall that these are the vocal highlights that made my heart beat a little faster and made me look forward to the year ahead.

A funny thing happened the other night at the Met when the curtain came down on William Kentridge's stunning new production of Alban Berg's cruel and devastating WOZZECK. The audience didn't rush from their seats to escape into the night. They stayed and cheered for an opera with a reputation for being, well, challenging for opera-goers weaned on Figaros and Flutes, Aidas and even Ring Cycles.

For a composer so well known for his dramatic operas--SALOME and ELEKTRA the most famous of them--Richard Strauss's most popular work remains the more comic DER ROSENKAVALIER, which just made its season debut under the scintillating baton of Sir Simon Rattle, with a bevy of first-rate singers.

Since it's highly unlikely that the Met will take on Carl Maria von Weber's DIE FREISCHUTZ (frequently translated as THE MARKSMAN) anytime soon--or even in the lifetime of any baby born this year--we should be grateful to Heartbeat Opera for bringing it to New York audiences through December 15, in a rootin' tootin' version that resets the piece from 16th-century Bohemia to contemporary Texas.

I know it takes a leap of faith for the Met to schedule something outside the ABC operas--AIDA, BOHEME, CARMEN plus a TOSCA, TURANDOT and a few others--and go for something a little more off the beaten track. Tchaikovsky's QUEEN OF SPADES certainly falls into that category, even though it isn't exactly an unknown. The current production by Elijah Moshinsky, conducted by Vasily Petrenko, which still looks like new and opened the other day for the season's run, is not just well-sung and beautiful to see but makes a very good case for doing it more often.

When New Yorkers last saw a concert performance of Act II of Wagner's TRISTAN UND ISOLDE--in the spring of 2018 with the Boston Symphony under Nelsons--a major singer was trying on one of the title characters for size. That was tenor Jonas Kaufmann. This time, it was Isolde who was ready for her closeup, with soprano Christine Goerke in a can't-wait-for-the-whole-opera performance, under Gianandrea Noseda with the Washington Symphony at Lincoln Center's White Light Festival.

It has taken 35 years for Philip Glass's AKHNATEN to get to the Met, since its premiere at the Staatsoper in Stuttgart in 1984. If you're an acolyte of Glass, Phelim McDermott's production, designed by Tom Pye, made it well worth the wait; if you're not, there's enough going on to keep you occupied during the 3 ½-hour performance.

According to the Carnegie Hall program, the Bavarian Radio Symphony Orchestra was founded just a year after the most modern pieces on last Friday's program were written. Those were Richard Strauss's “Four Last Songs,” composed in 1948, some of the most gorgeous music he wrote. Though I came for the songs and excerpts from Strauss's opera, INTERMEZZO, as it turned out, the symphony, Brahms' Fourth, was what made the evening.

It's hard to imagine the logistics in putting together a complex program like the one that the audience at Carnegie Hall was treated to on Sunday evening for the 2019 RICHARD TUCKER GALA. But New York-born conductor James Gaffigan pulled it off wonderfully with the help of members of the Met Orchestra and the New York Choral Society--and a gaggle of amazing singers, beginning with this year's winner of the Tucker Award, Lisette Oropesa.

With apologies to Gluck, “Che faremmo senza Jamie Barton?”—'Where would we be without mezzo Jamie Barton?”--in the revival of Mark Morris's production of ORFEO ED EURIDICE at the Met, under Mark Wigglesworth's firmly rhythmic baton. ORFEO, written in the mid-18th century, was an opera of a different stripe for its time. (The Met uses the 1762 Vienna version, one of many.) It leans heavily on dance and choral singing, as well as recitative.

It's easy to give yourself over to the music--and the musicians--that Lash has created (both music and libretto) from the very first notes of the devastatingly beautiful score. It is performed by three bold singers--the commanding mezzo Kirsten Sollek, the determined baritone Christopher Dylan Herbert and eerie yet forceful countertenor Daniel Moody. In addition--and very much integral to its success--there is the dazzling string quartet known as JACK (Christopher Otto and Justin Wulliman, violins; John Pickford Richards, viola; and Jay Campbell, cello). Surprisingly and successfully, there is no conductor.