This September, Boston Proves It’s Still An Opera Town With Big Names And Even Bigger Productions
August 30, 2016 - garden totes
They contend Boston isn’t an show town, and Sep isn’t customarily a vast show month. Most companies need some-more time to ready for performances, so what operas we get customarily come after in a season. But not this year.
“Ouroboros Trilogy” | ArtsEmerson, Sept. 10-17
The initial vital eventuality of a exemplary song deteriorate (presented by ArtsEmerson) is one of a largest: a trilogy of operas, dual of that are universe premieres. Under a altogether pretension of “Ouroboros Trilogy” (the round picture of a lizard eating a possess tail — an ancient Greek pitch of life, genocide and rebirth), a plan is unequivocally a brainchild of Cerise Lim Jacobs, a late counsel innate in Singapore, who wrote a librettos for all 3 operas, basing them on Chinese legends.
“Naga,” one of a premieres, deals with a dangerous confront between a priest and a mysterious, intimately alluring figure of a White Snake. The song is by a Boston composer and Dinosaur Annex Music Ensemble executive Scott Wheeler, whose latest CDs are a Bridge recording “Portraits and Tributes” with a glorious pianist Donald Berman, and a territory on an Albany recording called “Songs to Fill a Void” with baritone Robert Barefield. Wheeler’s vital low-pitched influences are Charles Ives and his clergyman Virgil Thomson, and I’ve been a sold fan of his operatic jeux d’esprit “The Construction of Boston.”
Here are some YouTube excerpts from a superb Naxos recording:
The other new show “Gilgamesh,” stoical by Paola Prestini, is about a half-demon son of Madame White Snake. Prestini, a New Yorker and Juilliard connoisseur who was innate in Italy and grew adult nearby a Mexican border, should be a acquire further to a Boston low-pitched scene. Here she is articulate about her life and career with a preference of her music:
The executive opera, and a earliest, is Chinese-American composer Zhou Long’s “Madame White Snake,” formed on a fable of a lizard who falls in adore and turns herself, tragically, into a genuine woman. The show was combined for a now gone Opera Boston, that presented it in 2010. we had really churned feelings about a informed multiple of Chinese and Western low-pitched styles and a pretentious articulation of a libretto, yet a Pulitzer Prize cabinet didn’t determine with me and awarded it a 2011 esteem for music. This is Opera Boston’s promo video for a strange production:
And here’s soprano Ying Huang, a strange Madame White Snake, accompanied by pianist Ken Noda, singing her “Awakening Aria”:
The expel for a trilogy includes dual of a star countertenors of a day. In “Madame White Snake,” Michael Maniaci reprises a purpose he combined of a White Snake’s lady menial and former lover. In both “Naga” and “Gilgamesh,” that impression will be played by a Met’s Anthony Roth Costanzo. Each show will have a opposite Madame White Snake.
On both Sept. 10 and 17 during a Cutler Majestic Theatre, commencement during 11 a.m. there will be performances of all 3 operas, yet in dual opposite orders. Each show will get a apart display during a dusk performances Sept. 13-15. There are special subscriptions for possibly all 3 operas or all 9 performances.
“Dimitrij” | Odyssey Opera, Sept. 16
On Friday, Sept. 16 during Jordan Hall, Odyssey Opera will benefaction a annual unison opening of an show that’s too vast for many companies to stage. So far, there have been exciting, sold-out versions of Wagner’s epic “Rienzi,” Korngold’s orgasmic “Die Tote Stadt,” and Massenet’s Technicolor “Le Cid.” This year’s unison show might be a many unusual. It’s a initial Boston opening of Dvořák’s grand opera, “Dimitrij,” a arrange of supplement to Mussorgsky’s “Boris Godunov” — a immeasurable and colorful inhabitant board about what happens in Russia after a genocide of Czar Boris. Sung in Czech, it will underline heading artists from Czech show new to Boston and a vast chorus.
Listen to what Odyssey’s song executive Gil Rose has to contend about it:
And here is a considerable Czech lyric/heroic effort Aleš Briscein, who sings a pretension role, in a famous aria from Wagner’s “Lohengrin”:
“Carmen” | Boston Lyric Opera, Sept. 23, 25, 30 and Oct. 2
A week later, Boston Lyric Opera brings a latest chronicle of Bizet’s “Carmen” to — of all places — a Opera House, that hasn’t seen a bone-fide show in utterly some time. (It’s also a final eventuality of BLO’s “40 Days of Opera” in respect of a company’s 40th season.) This will be a BLO’s fourth “Carmen” given 1994, when a illuminated Lorraine Hunt Lieberson gave life and abyss to a pretension role. In 2002, thousands of people attended a BLO’s “Carmen on a Common” (an “Aida on a Common” was ostensible to follow, yet there wasn’t adequate money). And in 2009, BLO shortchanged a assembly by creation poignant low-pitched cuts.
This latest “Carmen” prolongation (Sept. 23, 25, 30 and Oct. 2) already has a history. It will be a initial time a Boston assembly will get to see anything by a argumentative Catalan executive Calixto Bieito, as regenerated by Joan Anton Rechi (who recently oversaw a American entrance of this 1999 prolongation in San Francisco where it got utterly a operation of reviews). Updated to a late 20th-century and changed from Seville to Spain’s North African city of Ceuta, this comes with a warning: “Please note: This prolongation contains violence, nakedness and revealing behavior. Parental option is advised.”
The purpose of Carmen will be sung here by mezzo-soprano Jennifer Johnson Cano, who sang Donna Elvira in BLO’s 2015 prolongation of “Don Giovanni.” In a Metropolitan Opera’s “Carmen,” she seemed in a smaller purpose of a Gypsy Mercédès. Last year, she was good perceived personification a pretension purpose in Savannah. Here’s a shave of her singing Vitellia’s vital aria from Mozart’s “La Clemenza di Tito”:
You can hear excerpts from “Carmen” by Maria Callas and Jonas Kaufmann on a BLO website.
“Der Rosenkavalier” | Boston Symphony Orchestra, Sept. 29 and Oct. 1
And leave it to a Boston Symphony Orchestra to put a cherry on tip of this mini show deteriorate (mit schlag). Andris Nelsons — generally dignified here for his dual Richard Strauss operas (“Salome” and “Elektra”) — will be conducting a many dear of all Strauss operas, “Der Rosenkavalier,” with no reduction than super-diva Renée Fleming in one of her signature roles, a glamorous yet aging Marschallin. Fleming has recently announced that her arriving Strauss performances this deteriorate during Covent Garden and a Met “will be my final mainstream show appearances.”
At a BSO, she’ll be assimilated by mezzo-soprano Susan Graham in a “trouser role” of her immature and soon-to-be former partner Octavian. Coloratura soprano Erin Morley, a Met’s stream Sophie of choice, plays a ingénue for whom Octavian abandons a Marschallin. The final trio, in that Octavian gives adult his adore for a Marschallin and his indirect adore duet with Sophie, are among a many palatable pieces of song for women’s voices in all of opera. The words by producer Hugo von Hofmannsthal is half farce, half bittersweet romance. Between a contingent and a duet, Sophie’s father says innocently to a Marschallin, “Young people are usually like that!” to that a Marschallin responds with meaningful abdication and irony, “Ja, ja.”
Some of a many high singing we will ever hear is in this opening of a “Rosenkavalier” contingent and duet from a 1992 unison in Berlin, with a good conductor Claudio Abbado heading Fleming, Kathleen Battle and Frederica von Stade.
There are usually dual performances during Symphony Hall, Sept. 29 and Oct. 1, during 7 p.m., and there are doubtful to be any dull seats.
Who says Boston isn’t an show town?