Category: opera Page 13 of 29

Jordan de Souza: Connecting Music “In A More Real Way”

On November 10, 2017

Conductor Jordan de Souza (Photo: Brent Calis)

Conductor Jordan de Souza is one of classical music’s best ambassadors.

The conductor, who celebrates his 30th birthday next year, has been making waves for years abroad, as well as in his home and native land. Originally a graduate of the prestigious St. Michael’s Choir School, a semi-private Roman Catholic boys’ school in Toronto, de Souza studied organ performance at McGill University and was conducting (at Montreal’s Church of St. Andrew and St. Paul) when he was a teenager. Jordan has worked with the Canadian Opera Company, Opéra de Montréal, Houston Grand Opera, and the Accademia Filarmonica Romana, to name a few. He’s also worked with the National Ballet of Canada. As Conductor in Residence with Tapestry Opera (a Canadian company which specializes exclusively in new works), he’s worked on a number of contemporary projects, and was Music Director for the company’s critically-lauded opera adaptation of D.H. Lawrence’s short story Rocking Horse Winner last year. This past summer he made his debut at the prestigious Bregenz Festival in Austria, leading the Vienna Symphony (Wiener Symphoniker) in Bizet’s famous Carmen.

Scene from Komische Oper Berlin’s production of Pelléas et Mélisande (Photo: Monika Rittershaus)

The start of the 2017-2018 season this past September saw him formally become Kapellmeister of the Komische Oper Berlin. Regular readers will know I am a big fan of the work of their work for many reasons, among them a fresh, lively approach to staging and a smart, creative approach to scores. Most recently KOB received raves for their presentation of Debussy’s Pelléas et Mélisande, which opened in mid-October, with Jordan ‘s conducting work receiving many plaudits; one review noted he let “the impressionism of the late-romantic score flourish.”(For my interview with the production’s Pelléas, go here.) Jordan is also conducting Petrushka / L’Enfant et les Sortilèges (Stravinsky and Ravel respectively) this season, which is a presentation done with visionary British company 1927 Productions (and one which I loved when I attended its opening in January) as well as Tchaikovsky’s Jewgeni Onegin, both running in repertory.

As you’ll hear, Jordan is an artist very much dedicated to not only his work, but to the art form as a whole, Whether it’s exploring aspects of Pelléas with Komische Oper Intendant (boss) Barry Kosky and various ensemble members, parsing the meaning of the word “Kapellmeister” for the average (non-classical) person, sharing observations on European and North American cultural climates, or musing why Berlin is, as he puts it, “an embarrassment of riches” – all these things point very clearly at a person who believes in music, at a deep level, and is excited by its possibilities, both inside and outside the theatre.

Photo: mine. Please do not reproduce without permission.

I spoke with Jordan during a recent trip Berlin, which occurred at the end of a challenging trip to Italy. We met in the canteen of the KOB, so you’ll hear the sounds of various KOB staff grabbing their pre-performance snacks and dinners in the background. There’s a sense of the normalcy of classical arts in Berlin which I so utterly love. Classical music in the city is not some weird thing utterly removed from quotidian experience; rather, it’s simply part of the fabric of every day life. Eat; drink; concert. Expect a piece soon about my Berlin sojourn, and the many cultural goodies within those six days; meeting Jordan de Souza was certainly one of them. I look forward to experiencing more of his live work soon.

https://soundcloud.com/catekusti/opera-queen-talk-jordan-de-souza

Travels In Italy: Dolce e brutto

By Catherine Kustanczy

On November 7, 2017

In classical, festival, music, opera, personal, writing

Two weeks ago I was touring the lands of opera composer Giuseppe Verdi in Emilia Romagna, northern Italy: the place he was born and raised, the splendid home of his benefactor, the lush gardens he would walk through. Those were the good parts.

Any sentimentality or indeed, romanticism, which so many feel in traveling to Italy, has been largely scrubbed out; never, in all of my travels, I felt more aware of my status — my vulnerability — as a woman. While there are finger-waggers who will tut-tut with inevitable “you should haves” and well-meaning “if only you hads” (instincts I find frustratingly passive-aggressive if not outright patronizing) I stand by the validity of my reactions, deeply aware of the various costs of singledom as a woman, the frequently taken-for-granted privilege of coupledom, and the need to accept the wildly different realities of each, particularly within the wider context of travel experiences. I got to see a part of Italy very few people get to see, a unique experience to be sure, but one that comes with a bitter recognition in realizing that my only return to the country will be as either part of a tour, or for quick excursions to very specific places, namely Teatro Comunale di Bologna, the Teatro Municipale in Reggio Emilia, and of course, Teatro alla Scala in Milan.

A rose on the property of Villa Verdi. (Photo: mine. Please do not reproduce without permission.)

In retrospect, I wonder what Verdi, a man who felt such a clear kinship with the so-called “common man,” would have made of my experiences in his country as a woman in the 21st century. Would he have been appalled, I wonder, by the cat-calls, the leering, the begging? Being a solo woman traveler opened the door to an ugly jarful of assumptions, which led to harrowing experiences: theft, harassment, manipulation, and (as was the depressingly repeated case in so many restaurants), being totally ignored. What would Verdi have made of it all? What would he have made of my wrists being grabbed by a older woman wanting money? Or waiters running to serve amorous couples but consistently ignoring my inquiries about a missing lunch and requests for another glass of Lambrusco? Or of personal items being stolen from an abode? What of the forced kissing and repeated fondling after accepting help with luggage? What am I to make of these experiences? Are they operatic? Is it “Italy being Italy” ? Should I not be bothered? Was it my fault? Did I somehow “ask for it?” Did I deserve it because I was alone?

In any terrible situation (or series of them), there are always minuscule shards of light, and it’s these shards I have to pick through now, with the benefit of hindsight. I will always remember the free shot of espresso provided by a friendly woman in a bustling shop in Parma; the plate of sandwiches set before me in a cafe by another woman who gave me a knowing nod when she saw I was alone; the warm, expressive tone of my tour guide at Villa Verdi (the composer’s primary residence for many decades), as I struggled in my limited Italian to understand her every detail. All of us were above a certain age, all of us perhaps had some shared understanding we couldn’t articulate. I remember these moments, cherish them, and I’ve taken a friend’s advice to try and focus on good things, like these moments, and the ones provided via music and history.

Roberto de Candia as Falstaff (Photo: Roberto Ricci)

Jacopo Spirei’s Falstaff was my favorite production, and I don’t write that purely because I interviewed him about it before I left. Smart, funny, timely, and with a marvellously human lead performance by Roberto de Candia, the production (presented at the Teatro Regio di Parma as part of this year’s edition of Festival Verdi) was a true standout, and I wasn’t alone in that reaction, as chats with members of a refreshingly friendly British tour group revealed. Spirei placed the action in a familiar present, and filled the scene with very familiar people. De Candia played Falstaff as a kind of slobbish everyman, notably lacking the cutesy quality so common to characterizations. Instead, he was a kind of bar pig whom no one wanted to spend much time around — women especially; Falstaff wasn’t cuddly and harmless, he was slovenly and horrible. Only through his spectacular humiliation did he becomes semi-tolerable. The production made it abundantly clear that a character like Falstaff must be brought low in order to be raised once more, not as the phoenix, but as more of a messy pigeon who pecks around rotting porticos, and has to be kept in line with brooms and hoses every now and again.

I thought of Sir John Falstaff when I went to Villa Verdi some days later, because, as with Spirei’s magnificent production, I was being allowed to glimpse a vivid humanity which lives beneath an image. The house is located just outside the town of Busseto, roughly 40-odd kilometres north of Parma. Verdi supervised its construction, and, together with lady love (and soprano) Giuseppina Streponi, moved in in 1851. The house contains a number of mementos, as one might expect, all carefully and lovingly displayed.

Observing the bed in which Verdi died in 1901 (which had been shipped from the Grand Hotel in Milan) and various personal effects (including letters, knick-knacks, and the top hat and scarf he wears in Boldini’s famous portrait), a portrait of a good man dedicated to music and the people he loved emerges. It sounds hokey, but somehow, it wasn’t — but it was odd to walk around the living quarters of someone whose music was the soundtrack of large swaths of my life, to say nothing of my mother’s; it was ordinary and yet not, simple and yet grand, intimate and epic, all at once. Two pianos on which Verdi composed his works (early and later) were there, a clear case covering their keys. I stared at those pianos, longing to touch them. (No photos are allowed inside the house, alas.) I couldn’t rip my eyes off the second instrument on which he had composed Aida; this epic of the opera world, this contentious, difficult piece, with clashing ideologies and a gorgeously intimate subtext about loving the wrong person in the wrong time, “Celeste Aida” and the so-called “Triumphal March” — all that was done on the simple, upright piano sitting before me.

Gelling those reactions with the personal effects (to say nothing of the little section on Wagner) was surreal but also beautiful. I wish I could have had a few moments to stand in that room and take it all in, quietly, thoughtfully; it was one of the rare times during my travels in Italy that I actually wanted to be alone.

The exterior of Villa Verdi. (Photo: mine. Please do not reproduce without permission.)

A more fulsome piece about my visit to Villa Verdi and the town of Busseto is set to appear in a future edition of Opera Canada magazine, but at this website, expect a piece (soon) about a very unique version of Die Zauberflöte (The Magic Flute) presented in Reggio Emilia, which featured members of the Berlin Philharmonic and Italian entertainer Elio. Mozart’s opera has been on my mind a lot lately, because it is, as Komische Oper head honcho Barry Kosky rightly has noted, a work infused with a deep loneliness, and that quality is one which haunted me throughout Italy. Perhaps it was the absence of my mother, the social isolation that comes with being an independent woman of certain means, an overall disappointment… whatever the case: I am happy to have seen and experienced the things I did in Italy — and it will take a lot to get me to return.

A Trip For My Mother: Experiencing Opera in Italy

By Catherine Kustanczy

On October 20, 2017

In festival, music, opera

Last evening was the last of two performances of Verdi’s magnificent Requiem at the Teatro Regio di Parma. Featuring the talents of soloists Veronica Simeoni (soprano), Anna Pirozzi (mezzo soprano), Antonio Poli (tenor), and Riccardo Zanellato (bass baritone), and led with intense passion by conductor Daniele Callegari, the occasion was dedicated to the memory of tenor Luciano Pavarotti at the tenth year of his passing. The Requiem was the first classical experience I had in Italy, and it was more emotional than I was anticipating.

Coming to Italy has meant facing the lingering grief associated with losing my mother, who introduced me to opera and who passed away in 2015 after living more than a decade with non-Hodgkins lymphoma. I was her caregiver during that time, and I miss her in ways expected and unexpected. I knew this would be an emotional trip, but it also felt like an important one for me to take. Turning away from the opportunity to see some of my favorite artists live in places I know and love (like London) or places I’ve yet to see opera (like Paris, Munich, and Vienna), I chose Festival Verdi because it was, once it had been suggested to me, the sentimental journey I realized I needed to take.

Interior of the Teatro Regio di Parma. (Photo: mine. Please do not reproduce without permission.)

Carmen may have been my first opera as a small child (I was kitted out in long gown and rabbit coat, and taken to a production at Toronto’s then-named O’Keefe Centre), but Verdi was the composer whose work I was essentially raised to. It is not an exaggeration to say his music was the soundtrack of my life. Yes, there was Elvis Presley, and Roy Orbison, and ABBA, and Dean Martin, and Patsy Cline, and many others besides (my mother loved them all), but Giuseppe Verdi’s position in our little house was central and over-arching. I was a suburban ten-year-old who could sing along with “La donna è mobile” even if I didn’t know exact pronunciations of the words, let alone their meaning. I felt an electric thrill ripple from ears to legs to toes and back again the first time I hear “Di quella pira” (and I still do now). Watching a performance of La traviata‘s famous Brindisi on PBS inspired me to hoist a juice glass and sway around the room; I didn’t really know what they were saying (something about a good time?) but it felt good inside. This music still has the same effect for me; I feel good inside hearing it, whether it’s sad, happy, celebratory, or vengeful. The socio-political subtext of many of Verdi’s works, which I learned about growing older, only made me appreciate them even more, and never stopped me from swaying inside to that Brindisi.

My mother in opera-going gear. (Photo: mine. Please do not reproduce without permission.)

Italophile though she was, my mother never learned the language, despite her love of opera and the many Italian friends we had through the years, and she didn’t travel as much as she would’ve liked for opera. Being a single mother in the 70s and 80s in Canada meant that going to the O’Keefe was all she could manage — that is, until we finally went to the Metropolitan Opera in New York City in the late 1980s. She’d already been of course, many years before, and prior to that, had seen many performances at the Metropolitan Opera’s original house. If motherhood (especially single motherhood) had dimmed her ability to see live performances, it had also made her go ever more deeply into her ever-growing music collection, and, at that time, record every single PBS special. I only recently cleaned out those (literally) hundreds of VHS cassettes, unplayable not just because of technological advances, but through sheer wear and tear; we watched the hell out of that stuff, and more than one happy evening was spent staring and listening, sipping on root beer floats.

Returning to the Met was, looking back on it, a kind of a homecoming for her. We sat up in the Family Circle and it was there, in the darkness, surrounded by well-dressed matrons and comfy-casual students, locals, travellers, newbies, old hands, the old, the young, everyone in-between, with the music coming in waves up to us, that I finally truly understood the depth of my mother’s passion. Not the swaying and verklempt expressions the many times she’d go up and down supermarket aisles, Sony Walkman firmly in place, listening to Saturday Afternoon At the Opera. Not the coy smile when we met Placido Domingo during his Toronto visit (a smile returned, by the way, with a wink). Not even the occasional breathy “ahh” between sections during live performances at the O’Keefe. No, nothing underlined my mother’s passion for the art form until we went to the Met, and especially, saw Luciano Pavarotti (her very favorite singer) perform, and the music of Verdi at that. If it’s possible to experience a person’s spirit leaving their body, I did in those times, and it’s a big reason I wish she was here with me in Italy.

My mother and I in 2000. (Photo: mine. Please do not reproduce without permission.)

Still, there were challenges. Get two willful females living together and you may guess the rest; this trip she’d be chiding me to get a move on, stop burying myself in work, and “you don’t need that second glass of wine!” We’d argue about music as much as the mundanities of every life. I could not, as a teenager, understand her love of Wagner, whose work is, perhaps, the anchovies of opera, or was for me at least; only time, maturity, and experience allowed me to experience and appreciate the richness and complexity. While I adore his work now, in my younger days I had less than friendly feelings. My mother, by contrast, attended nearly an entire weekend of Wagner operas one trip to NYC; she wasn’t so deeply into the mythology as just the sheer, grand sound of it all, and if anyone could parse the threads between the two, it was her.

“You go for the music,” she would say. “If you don’t appreciate this stuff (meaning Verdi and Wagner, both), you can’t say you love opera.”

Not long after she passed away in 2015, an opera-loving friend active in the classical music world wrote to me. “She had the most pure appreciation for the music of anyone I’ve ever met,” he stated. “There was really nothing like it.”

Some may roll their eyes at this, and her perceived ignorance — the fact she couldn’t name all the international singers, didn’t know a lot of various directors’ works, didn’t closely follow very many careers outside of a famous few, couldn’t tell you about tessitura, cabalettas, or fach, didn’t (could’t) travel, didn’t have urban opera friends — and many more yet will say I parallel that ignorance in all kinds of ways, that I’m a twit, an amateur, a poseur, that I am pretentious and snobbish and full of hot air … to which I can only say, I admit ignorance to many things, I acknowledge the many holes that need filling, I try to educate myself in all sorts of ways, but also: I never, ever want to lose the purity of my mother’s appreciation. The day that purity is gone is the day I stop traveling, and the day I stop writing also.

Verdi’s Requiem at the Teatro Regio di Parma, 19 October 2017. (Photo: mine. Please do not reproduce without permission.)

Last night I was reminded of my mother’s pure appreciation, and just how much it’s been passed on. There are plenty of reasons why Verdi’s Requiem is important in terms of historical and political contexts (and NPR is right to call it “an opera in disguise“); none of those relate to what I found striking and moving experiencing its magnificent performance at the Teatro Regio di Parma, though. There was such a directness conveyed by and through Maestro Callegari, whose body language and responsiveness conveyed such a truly personal connection with the score. I’ve seen this work many times — with my mother and without — and while I have my favorite performances, none rank with this one; the immense chorus and orchestra transmitted balls-out grief and anger, and were wonderfully contrasted and complemented by thoughtfully modulated performances of the performers, who carefully wielded vocal texture and volume to create a wonderfully satisfying unity of sound. The house itself created so much immediacy of sound, and I can’t wait to hear more in it throughout the coming week.

At the Teatro Regio di Parma. (Photo: mine. Please do not reproduce without permission.)

My mother attended the opera in both Rome and Florence during her lifetime, but she returned from that particular trip full of remorse, as she told me, that she’d gone to Florence and not had time to go further north, to Parma and especially Busseto, where all things Verdi are located. Her absolute dream trips were to go to Milan for La Scala, and Verdi’s birthplace and home. I’m nearby in Parma, and I am thinking of her constantly.

I smiled lastnight, my critic’s ear ever focused, thinking, “that brass section is a bit loud” only to hear my mother chide me, as she did so often in such cases, as she’d shake her mane of red tresses and furrow her brow: “Don’t be so critical all the time, just enjoy… listen and enjoy!”

Good advice. Mille grazie, mamma. Questo viaggio è per te.

Dominik Köninger: “Everything comes in its time”

By Catherine Kustanczy

On October 13, 2017

In interviews, opera, voice

Baritone Dominik Köninger / Photo: Tom Schweigert

So many things struck me the first time I saw Dominik Köninger perform live. Watching him, one senses an innate musicality combined with a natural confidence and stage presence. No wonder he’s a rising star in opera.

A native of Heidelberg, Dominik was a member of the International Opera Studios at Hamburg State Opera in 2007; from 2010-2011 he was a member of the Bavarian State Opera. In 2011 he won First Prize in the Wigmore Hall / Kohn Foundation International Song Competition and was also a Recipient of the Wigmore Hall / Independent Opera Voice Fellowship. He has performed at the Stuttgart State Opera, the Theater an der Wien, the Volksoper Wien (Vienna), the Deutsche Oper Berlin, and the New National Theater Tokyo, to name a few. In 2012, he became a member of the ensemble of the Komische Oper Berlin (or KOB; I’m a fan of their work), and has performed works by Offenbach, Gluck, Handel, Monteverdi, Rossini, Puccini, Mozart, as well as Oscar Straus. He’s also done extensive festival work, tours, recitals, orchestral appearances, and recordings. This season sees him in five KOB productions, as well as performances at the Opéra-Comique, Paris and a tour to Japan in the spring. “Hektisch” seems too mild a word to describe it all.

Dominik Köninger (Nero) and Alma Sadé (Poppea). Photo: Iko Freese / drama-berlin.de

We spoke this past spring just after I’d seen his riveting performance in Die krönung der Poppea (The Coronation of Poppea) as the corrupt Emperor Nero. Not only did composer Elena Kats-Chernin’s creative reworking complement the beauty and majesty of Monteverdi’s original (elements of folk, tango, and jazz were perfect), the performances, together with Kosky’s sexy direction, made it into something for the 21st century. Poppea‘s portrait of a rotting, decadent world was presented with every bit of panache, beauty, and flair one would expect from the company, but ugliness was not avoided. (The deaths of both Seneca and Octavia inspired audible gasps from the audience.) Nero, while written for a much higher voice type, perfectly suited Dominik’s baritone; he shaped the words beautifully, layered vowels with beautiful textures, modulating his coppery baritone to handle the score’s difficult runs and recitatives (recits) with complete confidence.

Dominik Köninger (Pelléas) and Nadja Mchantaf (Mélisande) / Photo: Monika Rittershaus

Debussy’s Pelléas is a perfect vocal fit, having been written for what’s known as a baryton-martin, a range that falls between the traditional tenor and baritone. Considerably more modern than Monteverdi but no less difficult (some argue it is one of the most challenging roles in the baritone repertoire), the 1902 opera, based on Belgian writer Maurice Maeterlinck’s play, revolves around a troubling love triangle and has been described by Sir Simon Rattle as “one of the saddest and most upsetting operas ever written.”

This Sunday (October 15th) Dominik makes his role debut as the ill-fated character in Pelléas et Mélisande, in a debut production for KOB (a co-production with Nationaltheater Mannheim), conducted by Jordan de Souza and directed by Barry Kosky, who recently noted that the psychological landscape of the work reminds him of Edgar Allen Poe. The production also features soprano Nadja Mchantaf as Mélisande and baritone Günter Papendell (whose Don Giovanni I so enjoyed this past spring) as the jealous Golaud. Along with Debussy, Dominik will also be performing at the end of this month with the Deutsches Kammerorchester Berlin at the Chamber Hall of the Philharmonie Berlin in a special Halloween-flavoured program that includes works by Schubert, Purcell, Grieg, and Saint-Saëns.

Photo: Jan Windzus Photography

A beautiful voice alone is enough for some, but blending the art forms integral to opera in a way that fits score and production, and connects with the audience, while casually carrying an innate, sparkling star presence — that’s the stuff I find truly exciting, and what makes me run to the opera house, over and over. As you’ll see, this is one direct singer; he likes to be challenged by new material but has no time for social media. (Don’t expect a Facebook page anytime soon.) He likes old work but has every curiosity for new stuff. He’s fine with the “barihunk” label but refuses the pressure that comes with technology. Dominik Köninger is, quite simply, his own man.

What’s it like to prepare for concerts versus opera?

That’s a good question. It depends on the role. A full recital is much more demanding than an opera. Let’s take Le nozze di Figaro: you’re on stage half of it or even less, and so it’s demanding of course, because you have to keep up the energy and all that. But to do a recital, I would say, the longer the better for preparation — a year at least. Sometimes it goes faster. You only have this one shot, this one-and-a-half hour block of time and you want to present everything you have in your mind, and the better you rehearse it, the better you can get it out there.

… and it’s just you. It’s just a series of solos.

All eyes just on you. All ears just on you.

Just people carefully listening.

That’s why I love it. You really can communicate much better with the people, you can look at them, smile at them — or not — and you can see how they react.

It’s a more intimate relationship with your audience.

Yes, and I really miss that, and I’m happy to be coming back to it.

Günter Papendell (Golaud) and Dominik Köninger (Pelléas) / Photo: Monika Rittershaus

And you’re singing Pelléas as well.

This is my absolute dream role since I was 21.

What’s that like to prepare for something that’s been your dream for so long?

Difficult, to be honest. On the one hand I’m already familiar with it, because I sung parts of it in university but … on the other hand you have so many expectations of yourself, and this means pressure. So you have to release the pressure a little bit. It’s actually not so much a vocal issue, it’s more of a brain issue. I just need to stay relaxed. I’m really looking forward to it.

Is French opera something you enjoy?

I think it fits quite well to my type of voice. You know the lighter, higher-placed baritone, not the deep booming sound, that’s not me. French music is beautiful. I love it and I love the language. It’s my favorite language to sing in. I would love to sing Mercutio in Roméo et Juliette . This sounds cocky to say, but sometimes you discover that your soul —this means the combination of your soul and voice and all that — is predisposed to certain composers. Like, when I start a new Mahler song for example, I feel like I am already there. There’s still lots to improve of course, but it’s just… there, and it’s the same for Debussy songs and Fauré songs, it’s just there. That music goes into my voice so much quicker.

Dominik Köninger with Dagmar Manzel in “Die Perlen der Cleopatra” (The Pearls of Cleopatra) / Photo: Iko Freese / drama-berlin.de

Owing to live streaming and the Live in HD series, many singers feel they have to look perfect — what is that like to deal with?

That’s the reality today. That’s the thing. The better you look, the better you sing, the better you sell.

And you are on Barihunks.

This is really flattering, I have to say. I was and am always flattered when I read things about me. Those guys are ripped!

Keeping in shape is important for singers, though.

I feel better singing when I’m fitter, of course. I have great respect for older singers who can still produce all that sound and stay through a whole Tristan, or whatever they sing. I need to do just a little bit of sports to sing better.

What about after a performance?

I want to go home and watch “House of Cards”!

Do you ever see other productions?

When I was in Amsterdam this past spring, what I did was a bit crazy. I had a day off and nobody was there with me, so I enjoyed my time and went, on the first nice spring day — it was the end of March, really nice weather, at 2pm in the afternoon — I went to see Wozzeck at the opera. Really dark, really depressing, but good singers… great singers.

So many things are live-streamed these days. Does being filmed ever make you self-conscious?

If I started to think about all that onstage, I would be even more tense, so no. Somehow I manage to make myself free of it. I don’t think about how many people are watching and “Can they see into my mouth?” or whatever.

L-R: Günter Papendell (Golaud) Dominik Köninger (Pelléas), Nadja Mchantaf (Mélisande) / Photo: Monika Rittershaus

Is this why you’re not on social media?

I’m not interested. I have my family, I have my friends — there’s enough going on in my life. I’m always loyal to my friends, I write them on Whatsapp or message or call, but it’s enough. Sometimes people say to me, “If you were on Facebook, maybe your career would’ve been much better!” I’m like, “Or not!” It’s not my thing.

But being part of the Komische ensemble is pretty good, isn’t it?

This is how you see it, it’s how I see it, some people see it differently, and some need to sing in Vienna and LA and Moscow.

And you might do that anyway.

Yes, everything comes in its time.

Spirei Stages Falstaff In Parma

By Catherine Kustanczy

On October 8, 2017

In festival, interviews, music, opera

Roberto de Candia as Falstaff (Photo: Roberto Ricci)

Every time I hear about an opera based on a play, my antenna goes up.

I was a theatre writer before I was an opera writer, and a theatre performer and aficionado before all of that. In my youth I spent countless hours pouring over journals, books, and audio recordings of works by (and this is by no means a comprehensive list) Pinter, Beckett, Miller, Pirandello, Artaud, O’Casey, Orton, Moliere, and of course, Shakespeare. When my mother would take me to operas based on plays, I would always wince, thinking, “surely this won’t be as good as the original.” Ah, youth.

Living in Dublin and London allowed for many fantastic nights of theatre, with some of my favorite moments unfolding at (or being connected with) the Almeida Theatre in Islington, north London. When Jonathan Kent, whose work I had long admired, moved into opera, I was immediately intrigued. The flow between the worlds of theatre and opera has always been a natural one, of course, but owing to youthful arrogance (and more than a bit of romance around the world of theatre), I couldn’t see or appreciate it clearly. I still love theatre but whenever I go now, I find myself missing the music.

Roberto de Candia as Falstaff and Sonia Prina as Mrs. Quickly (Photo: Roberto Ricci)

Opera is, of course, a fluid art form rich in drama and rife with possibilities for presentation, something various head honchos in opera know and riff on, to frequently wondrous effect. (See: Barry Kosky’s work, especially with Komische Oper Berlin; the work of Pierre Audi and Robert Carsen; the recent 017 Festival, courtesy Opera Phildelphia, for just a few examples.) Making opera theatrically gripping isn’t always easy, however much creativity, talent, and goodwill is extant.

When it comes to staging the work of Giuseppe Verdi, who adored the work of Shakespeare, things can get even more sticky. A director is faced with certain choices: do the stodgy Shakespeare thing, involving various shades of grey and frilly collars? Or do super-high-concept, involving surreal set pieces and bizarre effects? Listening to the music and text, together, as one unit, is of course, the director’s job. Italian director Jacopo Spirei excels in integrating drama, visuals, theatricality and music into one satisfying whole. He gets opera, he gets theatre, he gets why you might be resistant to combining them — and he thinks you should come anyway.

I first spoke with Jacopo earlier this year when he directed Don Giovanni at the San Francisco Opera, in a remount of a work originally done by Gabriel Lavia in 2011. He’s just opened his entirely-own production of Falstaff at the Festival Verdi in Parma, Italy. Having gotten his start working with British director Graham Vick (who has a production of Stiffelio at this year’s Festival Verdi involving the audience standing and moving), I thought Spirei’s thoughts around the theatre-meets-opera issue would be very valuable.

Falstaff is based on Shakespeare’s The Merry Wives of Windsor, and involves the jocular title character, Sir John Falstaff, in various misadventures with a variety of ladies and angry husbands. Basically, Sir John’s giant ego gets him in trouble. Frequently played as a jolly big man with a beard and a rolling laugh, this famous literary character is often presented as the stuff of stage comedy, a figure we laugh with and laugh at, a bon vivant whose lust for life knows no bounds. This is fun, but I wondered if Jacopo saw something more; the photos of the production (which I will be seeing the end of this month) seem to suggest so, with a dirty Union Jack flag being used at various points, to say nothing of baritone Roberto de Candia’s dishevelled appearance and modern dress. What was Jacopo thinking as he directed this in one of Italy’s most notoriously fussy houses for opera? Find out.

How is directing an opera based on Shakespeare different?

We could say that Verdi and Shakespeare is a very happy match; whenever the two have met great art has been produced.

Roberto de Candia as Falstaff (Photo: Roberto Ricci)

Who is Sir John Falstaff? What does he have to say to us in 2017?

It’s easier to say what Falstaff is not: he’s not a moral creature, he’s not young, he’s not thin, but he has been in the past all of these things. Falstaff is a man who has known glory, wealth, poverty, defeat and survived through it all with a smile and a philosophy. He tells us how morals and honor are just words created but mankind. He’s a man who survives, who values a good glass of wine more than many words; at the same time he’s a man who represents old values in a changing society, so he’s a character that, like every human being, lives in a constant contradiction. He does not understand the modern world but also wants to participate in it, does not want to let go, wants to show that he still “has it.” I can’t think of anything more actual than that — we live in a “like” obsessed society where youth and beauty is the only value. It’s not easy being old today!!!

There is a tendency with many productions of Falstaff to emphasize the comic aspects; your production seems more serious and thoughtful. Why this approach?

The opera is funny, but not comic. It’s an opera about different stages of life, and has a strong dose of cynicism; it’s a comedy with teeth! I have approached the opera from the text, like Verdi did, so I’ve developed what’s on the page, I have researched with the cast and what we’ve discovered is what we are presenting to the audience today.

The cast of ‘Falstaff’ (Photo Roberto Ricci)

The design sense of this production is very unique: contemporary, somewhat expressionist, familiar. What were your visual influences? What was your process with designer Nikolaus Webern?

With Nikolaus we always start from the text and we discuss a lot before even starting to design. One big element that inspired us is the weight of the protagonist that creates an imbalance in the perfect lives of Windsor’s bourgeois world, so we have worked on this loss of balance in life.

A great visual influence for me came from all the years working at Glyndebourne, so the village, the house, the pub — they’re somewhat related to those years where I was assisting Graham Vick and reviving his shows in this magical festival. You can see in the show the village of Lewes, the house of the owners of the festival and in fact. almost every single pub in the neighbourhood.

Giorgio Caoduro (Ford) in a scene from ‘Falstaff’ (Photo: Roberto Ricci)

How much did Brexit influence your direction with this work?

Funny you ask — whenever I presented the production to the cast and the theatre I said, “Falstaff at the time of Brexit.” In a way there is a relationship to what’s happening to England now, but I’ve treated it more as an example than anything else. I believe we have a lot to learn from what England is going through politically and socially. I don’t and never believed that division is the answer. In a bizarre way England is behaving like Falstaff, still thinking an Empire is possible and not accepting reality and how the world has changed. Brexit has been a very divisive subject within England and Great Britain in general.

What’s it like to direct at Festival Verdi in Parma, a city known for its strong opera opinions?

It’s an honor to be directing at this prestigious festival next to names like Vick and (Hugo) De Ana (directing Jerusalem at the Festival Verdi this year); I was thrilled at the idea of working in Verdi’s land for an audience that loves and deeply knows Verdi. I enjoyed the process, never fearing any good or bad reaction from the audience. As long as you are loyal to your vision, there’s nothing to fear.

Tomasz Konieczny: Acting Before Singing Was Hard!

By Catherine Kustanczy

On October 4, 2017

In audio, interviews, music, opera

Erin Wall as Arabella and Tomasz Konieczny as Mandryka in the Canadian Opera Company’s new production of Arabella, 2017. Photo: Michael Cooper

Hearing Tomasz Konieczny speak, you can’t help but think “well of course he’s a singer.” But he didn’t start out as one.

In a recent chat I had with the Polish bass baritone, who’s currently in Toronto for the Canadian Opera Company’s season-opening production of Strauss’ romantic comedy Arabella (running October 5th to 28th), Konieczny admitted that being an actor first was a hindrance, not a help. As you’ll hear, re-learning everything anew was not an easy task. While there is a greater focus on acting in opera these days (especially since the advent of the Met’s Live In HD series, where gesture is writ large on cinema screens around the world), sometimes knowing the acting part first makes things harder, not easier.

I first heard Konieczny as Il Commendatore in Mozart’s Don Giovanni, in a compelling 2014 Salzburg Festival production by Sven-Eric Bechtolf. (I liked the production on DVD so much I had to go see it live for myself at its revival in Salzburg in 2016, though Canadian bass Alain Coulombe sang the role). What strikes me about Konieczny is how he modulates authority; his Commendatore, for instance, was commanding (as the name may imply), but it was also restrained, which is something not always conveyed when performing the role of a ghostly, avenging father. His performance oozed a quiet kind of power that was hypnotizing, creepy, and very memorable. Konieczny performed the role again this past spring, in a production by the famed director Robert Carsen, at Teatro alla Scala Milan, opposite Luca Pisaroni’s Leporello and Thomas Hampson’s Don.

Claire de Sévigné as the Fiakermilli, Tomasz Konieczny as Mandryka, John Fanning as Count Waldner and Gundula Hintz as Adelaide in the Canadian Opera Company’s new production of Arabella, 2017. Photo: Michael Cooper

Along with discussing the challenges that come with moving between various roles (Konieczny has a long and impressive resume that includes a lot of Wagner roles), he and I also discuss voice types, a debated area in the singer world; while some are comfortable with the ‘bass baritone’ label, some are very much not. Konieczny provide a helpful template for how to think about these voice types. We also talk about the romantic Mandryka, in Arabella, a role he’s well familiar with (having performed it a numerous occasions with the Vienna State Opera), and the influence (or not) of aristocracy and money on his character in Strauss’ 1933 comic opera.

https://soundcloud.com/catekusti/opera-queen-talk-tomasz-konieczny

Marveling at Monteverdi With The RIAS Kammerchor

By Catherine Kustanczy

On September 25, 2017

In audio, festival, interviews, music, opera, voice

Looking up at St. Hedwig’s Cathedral. (Photo: mine. Please do not reproduce without permission)

At any time of year, Berlin is a treasure trove of cultural riches, especially for music lovers. One is spoiled for choice with numerous symphony orchestras, opera outfits, quartets, quintets, and chamber groups. Being in the city for the final week of the annual MusikFest (which you’ll be able to read all about in a future edition of Opera Canada magazine) however, it became extremely clear that Berliners take their music very seriously; the annual event (part of the larger Festspiele) is an expression of a culture that is firmly part of every day life, not an accessory to it.

One of the most unique events was the Monteverdi program programmed and presented by the RIAS Kammerchor (or chamber choir) of Berlin. Who was Monteverdi, and why should you care? He’s the father of opera, and, in a broader sense, a very important guy in the history of vocal music as a whole. The composer, who links the Renaissance and Baroque eras, even has a whole box set of his works called “The Innovator.” 2017 marks Monteverdi’s 450th birthday, so many groups are marking the occasion with performances. Though I didn’t get to hear a lot of vocal music this time in Berlin, I did experience some very special music moments, and Monteverdi as presented by the RIAS Kammerchor had a lot to do with it.

RIAS Chamber Choir 2017-18 © Matthias Heyde

The group, which dates back to 1948, were named after the US-run radio station “Rundfunk im amerikanischen Sektor (or “American-sector broadcasting”) and participated in the opening concert of the Berliner Philharmonie in 1963. What started as a post-war regional group grew into a highly respected ensemble with an international reputation. With an original founding principal to promote new music, the choir has premiered works by, among others, Aribert Reimann, Paul Hindesmith, and Pierre Boulez. (A gorgeous new concert hall in Berlin was named after the latter, which hosts a variety of concerts and recitals; it was one of the locales for the Kammerchor’s MusikFest concerts.) In the early 2000s, the Kammerchor’s mandate was extended to include early and Baroque works, in collaboration with a number of prestigious conductors who excel in that repertoire, John Eliot Gardiner among them. English-born Gardiner got his start in the music world conducting Monteverdi’s “Vespro della Beata Vergine” (Vespers for the Blessed Virgin) which was one of the works presented by the Kammerchor at MusikFest, and one which I’m hoping to see performed again when I visit Italy next month. (Gardiner is currently touring Monteverdi’s three surviving full-length operas with the Monteverdi Choir and the English Baroque Soloists.)

So why do we still care about Monteverdi? Well, to paraphrase what Justin Doyle (Chief Conductor and Artistic Director of Kammerchor, who is also a permanent conductor at Opera North in Leeds) says in my interview with him (below), the Cremona native invented a lot of the musical concepts we take for granted today — things like instrumentation, vocal exchanges, balance, phrasing, melody, harmony. Kammerchor performed two of his works as part of this year’s MusikFest in Berlin, the Vespers and another religious piece, the shorter “Missa in illo tempore” I heard the latter performed first, in the middle of a chilly, bright Saturday afternoon at the round, grandly austere St. Hedwig’s Cathedral; the Vespers was presented at the modern, elliptically-shaped Pierre Boulez Saal (Hall), where various soloists (vocal and instrumental) were choreographed to move around in the space, delivering lines from all angles within the hall . Both presented some very different experiences of some very old music, in ways that made it sound very new, and very alive.

The RIAS Kammerchor at St. Hedwig’s Cathedral, 16 September 2017. (Photo: mine. Please do not reproduce without permission)

While the wide, open spaces of St. Hedwig’s allowed the sound to swirl, and occasionally submerge the audience in graceful (if sometimes challenging) harmonies, the Boulez warmly enveloped listeners, forcing a simultaneously careful listening experience and a thoughtful spiritual exercise. The poetic sounds of the Capella de la Torre (an incredible ensemble who play authentic Renaissance instruments) were so wonderfully attuned to Doyle’s directions, and the beautifully contrasting tenors of Andrew Staples and Thomas Hobbes, calling as if from dreams at points, collected, merged, and contrasted with the ethereal sopranos of Dorothee Mields and Hannah Morrison. What made the concerts particularly profound was hearing how completely conversational Monteverdi’s work is, vocally and instrumentally, and just how much drama has been naturally woven into the sonic framework. Forget bland, unchanging religious music; this was dramatically gripping and spiritually moving on every level.

The RIAS Kammerchor at the Pierre Boulez Saal, 16 September 2017. (Photo: mine. Please do not reproduce without permission)

They were also intriguing for their sonic intricacy. One word Justin Doyle uses a lot in this conversation is “polyphonic,” which relates, of course, to polyphony. Merriam-Webster defines this as “a style of musical composition employing two or more simultaneous but relatively independent melodic lines.” Think of singing “Frere Jacques” and “Row Your Boat” at the same time. Got it? You can thank yer man Claudio for this, and many, many other bits of musical wonder. A music website focused on early music (especially Baroque) usefully describes the role of polyphony and church music thusly:

During the Renaissance, it was common for composers to set the Ordinary to music, the first large–scale form in western music. The texture was polyphonic, at first based on the underlying plainsong melodies of each section. Such was the paraphrase mass, in which an existing melody, albeit in a usually embellished form, was used as the basis for one or more movements.

As you’ll hear, Doyle is passionate about this music — and why not? You don’t have to belong to a specific faith to enjoy the riches it offers, or to hear how unusual, innovative, complex, and enlightening it is. Monteverdi may be 450 years old, but he’s still as fresh as a daisy, thanks to ensembles like the RIAS Kammerchor.

https://soundcloud.com/catekusti/opera-queen-talk-justin-doyle

David Devan: Old World, Brand New, at Opera Philadelphia

By Catherine Kustanczy

On September 13, 2017

In announcement, audio, festival, interviews, new music, opera

Welcome to The Opera Queen.

The name, as you will learn in the “About Me” section, is firmly done with tongue in cheek, and in no way implies this site is about one art form alone. How could it be? Opera itself incorporates so many disciplines — music, theatre, visual art, dance, literature — and my tastes and passion are too wide to ever focus on one art form. The name actually comes from a friend who teasingly called me “the opera queen” in 2015, when I decided to more fully immerse myself in reporting on the art form following the passing of my opera-loving mother in 2015. (There’s also the fact my first and last names are frequently misspelled; theoperaqueen.com eliminates the possibility of any confusion, I hope.) The name was chosen with a playful spirit (and in the interests of clarity), though hopefully you’ll find a variety of things here, both playful and serious, vivacious and thought-provoking, joyous and contemplative.

This premiere post integrates so many of the things I believe in when it comes to culture; it is being done from Berlin, a city I seem to be visiting frequently. I was here in both January and May, each time for opera-heavy visits; this time I’m attending the Musikfest portion of annual Berliner Festspiele, (which is considerably, and wonderfully, heavy on symphonic work. (Look for a full report in a future edition of Opera Canada magazine.) Tonight I am seeing Riccardo Chailly conduct the Filarmonica della Scala, whom I saw at last year’s Salzburg Festival, with a program chalk-full of Verdi works. “It is an orchestra which is living daily with opera,” Chailly said recently.

Lots of people live that way, I think, including David Devan, General Director and President of Opera Philadelphia. A fellow Canadian who’s been with OP since the mid 2000s, Devan is the driving force behind the company’s visionary new 017 Festival, which focuses solely on contemporary work. You won’t find any Verdi at 017 — but you will find Mozart, specifically The Magic Flute, and more specifically yet, the famous Komische Oper Berlin production. Also being presented during the 017 Festival is the world premiere of We Shall Not Be Moved, by an incredible team of people: composer Daniel Bernard Roumain, librettist Marc Bamuthi Joseph, and director Bill T. Jones. The work explores a painful episode in Philadelphia’s history, and speaks to very timely issues of race, politics, and power. The Wake World, another world premiere (by Opera Philly’s composer-in-residence, David Hertzberg), is being presented in the famous galleries of The Barnes Foundation, and brings together the work of physician and collector Dr. Albert Barnes, and British magician and occultist Aleister Crowley, for what OP terms “a mystical world of hallucinatory vividness.”

Devan’s vision is, as you will hear, wide-ranging and very inclusive; he’s worked to make an old art form, in an old and very historic city, into something entirely for and of the 21st century, while still firmly retaining all the flavour, beauty, drama, and originality of opera, in and of itself. Devan’s ideas about audiences, art, and engagement are so thoughtful, and so worth considering, not for purely administrators — but for artists, creators, and yes, arts media as well.

The Opera Queen is officially here — to entertain and delight, yes, but to make you think as well. I hope you’ll enjoy.

https://soundcloud.com/catekusti/david-devan-sept-2017

Virtuosi

By Catherine Kustanczy

On June 9, 2017

In music, opera

Vladimir Spivakov and Hibla Gerzmava with the Moscow Virtuosi at Roy Thomson Hall. Photo: Vladimir Kevorkov for Show One Productions

Is this the year of great singers making their Canadian debuts? Perhaps.

Soprano Anna Netrebko and husband, tenor Yusif Eyvazov, appeared in Toronto this past April (along with baritone Dmitri Hvorostovsky), as part of a concert co-presented by the Canadian Opera Company and Show One Productions. This past Thursday, (8 June) soprano Hibla Gerzmava made her debut in the city, joined by conductor Vladimir Spivakov and the Moscow Virtuosi Chamber Orchestra, who has led the ensemble since formation it in 1979.

Gerzmava, who hails from Abkhazia (located on the eastern coast of the Black Sea), is a singer of some acclaim. I’ve been following Gerzmava’s work for a number of years, particularly her annual gala concerts (called “Hibla Gerzmava Invites”) that feature a who’s-who of great classical-world talent. She’s a singer with a laser-pointed tone and a warm, textured sound. I had the chance to see her live last fall in Don Giovanni (not shocking to those of aware of my fascination with that work) at the Metropolitan Opera in New York, with famous baritone Simon Keenlyside in the lead; Gerzmava’s Donna Anna was pleading, angst-filled, guilt-wracked. Her performance of “Non Mi Dir” was lovely, with Gerzmava shaping her rolled consonants and luxurious vowels into a rapturous embrace.

Paul Appleby as Don Ottavio, Hibla Gerzmava as Donna Anna, and Simon Keenlyside in Mozart’s Don Giovanni.
Photo: Marty Sohl/Metropolitan Opera

Aside from that memorable voice, what makes Gerzmava interesting to me is that the same year she graduated from the Moscow Conservatory, in 1994, she became the first singer — and the sole woman ever — to earn the prestigious Grand Prize in the prestigious International Tchaikovsky Competition. Since then, she’s appeared on some very notable opera stages, including the Wiener Staatsoper (Vienna), the Bayerische Staatsoper (Munich), Bavarian State Opera, Opéra National de Paris, the Royal Opera House Covent Garden, the Met of course, and the Teatro dell’Opera di Roma, among many others. This past spring she sang the title role in Donizetti’s dramatic opera Anna Bolena (part of his Tudor trilogy) at Teatro Alla Scala Milan (opposite venerable Italian bass Carlo Columbara as Enrico / Henry), one of the most challenging of roles within the repertoire, both musically and dramatically.

(via Melodiya)

Gerzmava’s recent albums, Hibla Gerzmava, Soprano (Melodiya), released in 2014) and Opera. Jazz. Blues. (Melodiya), from 2016, explore an array of sounds, with the latter focusing on jazzy forays into traditionally classical repertoire (with arrangements by Daniel Kramer), and the former an impressive live recording of a concert she gave in Moscow with Spivakov and the National Philharmonic Orchestra of Russia in 2013. She gives thrilling readings of many opera classics on this album, every piece full of laser clear tone and dramatic verve; it’s a highly listenable album, and I think it works really well as an introduction to opera overall, offering a nice selection of well-known favorites, wonderful interpretations (including a lively rendering, together with baritone Arsen Sogomonian, of the duet between the main female character and the charlatan-doctor character in Donizetti’s L’elisir d’Amore, or The Elixir of Love, another huge favorite of mine), and the sparky dynamism of live performance. Consider that a recommendation for those of you who are a bit nervous about sticking your toe into the opera ocean; trust me, this is a nice bubbly jacuzzi best enjoyed with a good cold glass of rose.

Currently on tour with the Moscow Virtuosi Chamber Orchestra through North America, Gerzmava made her Canadian debut Thursday night at Toronto’s Roy Thomson Hall (the regular home of the Toronto Symphony Orchestra), offering a highly eclectic program featuring works by mainly French and Italian composers. After a first half that featured Spivakov leading the Ensemble in an a wide array of works (including Mozart, Shostakovich, Bruch), as well as a sparky performance by young cellist Danielle Akta, Gerzmava appeared, splendid in a grand, floor-sweeping red/blue/gold dress, with long hair neatly pinned up, and launched straight into one of the best-known arias within the operatic repertoire (also featured on her live album), “Casta Diva”, from Bellini’s Norma. It could well be suspected that Gerzmava was facing a few challenges (she appeared to be sucking on some kind of lozenge or candy at several points), what with some uneven moments vocally, and a gradually diminishing volume throughout the concert that left her with a small but very sweet tone for the evening’s encores, the famous “O Mio Babbino Caro” (from Puccini’s Gianni Schicchi) and Strauss’ ethereal “Morgen“, also featured on her live album. Whatever vocal color she may have been lacking, Gerzmava made up for with brilliant flashes of the muscular tone for which she’s rightly celebrated, particularly in the middle portion of the program. Her renderings of the showpiece stretto aria from Verdi’s I Masnadieri (The Robbers) and “Ecco… Io son l’umile ancella” (“I am the humble servant) from Cilea’s Adriana Lecouvreur were standouts for their tonal clarity, light if well-considered vibrato, and the fierce dramatic heft of their delivery.

Vladimir Spivakov and Hibla Gerzmava with the Moscow Virtuosi at Roy Thomson Hall. Photo: Vladimir Kevorkov for Show One Productions.

Gerzmava showed herself so deeply cocooned within the music she was performing at points as to be acting out the parts to and with various orchestra members, who gamely played to her, along with conductor Spivakov; it would have all come off unbearably corny but for the fact that Gerzmava, and her fellow musicians, were so very clearly committed to the music, and to the moments of both intimacy and grandeur within the music. Some pieces were more like duets, which made Gerzmava’s and the Virtuosi’s connection with the music that much more touching. Here’s to many more appearances by Gerzmava in Canada in the future, and fingers crossed for not only some Russian repertoire in that program, but some Mozart, too.

Opera ≠ Church

By Catherine Kustanczy

On June 6, 2017

In classical, interviews, music, opera

Simon Schnorr as Don Giovanni in Jacopo Spirei’s 2016 production
for Salzburger Landestheater. Photo: © Anna-Maria Löffelberger

People come to opera with many opinions and ideas. If they’ve never seen a production, or have only caught tidbits online or the television, have gone at the behest of a significant other for a special occasion, or, they’ve worked in the industry their entire lives in some capacity, everyone has an opinion: It’s the greatest art form there is. It’s stagnant. It sucks.

In speaking with director Jacopo Spirei recently, it seemed as if he was highly aware of all of these opinions, and moreover, had spent considerable time with groups who held a diversity of ideas around the art form. It’s this awareness, I suspect, that powers so much of his directing work; the Florence-based director has a powerful desire to reach through all the baggage a person carries (whether artist or audience member), to present something new and very immediate. Spirei, as I outlined in part 1 of our chat recently, spent the early part of his career working with British director Graham Vick, whose own stagings of operatic works have attracted their fair share of fans and critics. Vick is a figure who firmly believes in community involvement, and in reinforcing the art form as an intrinsic part of society.

Spirei has a similar approach. He has a number of acclaimed productions under his belt, including Rossini’s comic La cambiale di matrimonio (The Marriage Contract) for Theater an der Wien (Vienna) in 2012; another Rossini opera, the beloved La Cenerentola (Cinderella), for Festival Internacional de Musica (Cartagena) in 2014. He’s also worked with the renowned Co-Opera Co., helming productions of Puccini’s Madama Butterfly and Mozart’s Le nozze di Figaro (The Marriage of Figaro) for the London-based organization. Spirei’s production of Mozart’s Cosi fan tutte won the audience prize for best production of the 2012/2013 season at the Salzburger Landestheatre, and he also helmed Gluck’s The Pilgrims of Mecca (La rencontre imprévue, ou Les pèlerins de la Mecque) there in 2013. Spirei’s resume is long and impressive, and extremely varied.

As he mentioned in part one of my interview with him, the busy director has been behind a few versions of Mozart’s Don Giovanni, including a popular, acclaimed version of the work staged at the Landestheater in 2011, and remounted in 2016. He’s set to direct Verdi’s Falstaff in Parma at the Festival Verdi in October.

With his recent San Francisco Opera debut, Spirei was tasked with re-envisoning Gabriele Lavia’s 2011 production of Don Giovanni. The director and I spoke just on the cusp of the production’s opening (on now through June 30th); thoughts about the dastardly deeds of the Don, as well as the centrality of women in Mozart’s famous 1787 opera, led to a broader discussion on opera attracting new audiences, the vital role of education, and the particulars of opera fashion. To go casual or not to go casual? Read on.

You recently told Newsweek that in Italy, opera is more about “pretty pictures”; I was reminded of the ongoing debate between new and old productions. Some people love the contemporary take on works; others feel there should be a return to beauty.

Yeah the problem is, what is beauty? It’s such a wide concept. When something you put onstage doesn’t help the story or doesn’t tell us anything, it hasn’t got a thing to say, then it has no place on our stages — it’s very simple. In a way you have to tell the story that is in the piece, that is written down; that’s where you start from. Of course you do it through your own intellect and creativity, but you cannot start decorating it; it doesn’t need that. The art form is absolutely fine on its own. What it needs is to be alive. It needs absolute essence, which is the live performance.

The joint work the director does with the conductor and the singers is to lift the opera from the page, to take it away from what’s written and recreate it, reinvent it. There’s no such a thing as pretty show or an ugly show; there’s a good show or a bad show. That doesn’t mean in-period not-in-period; somehow it’s a fake problem. If the work is good and relevant and done with honesty, then it’ll get through. Some work is provocative, some not, sometimes it want to be thought-provoking and hit something; each (production) has its own definition of beauty and of art, which makes us grow and develop.

… and some productions aim to be purposely unpleasant.

If you think about Caravaggio and a lot of his stuff, they’re beautiful paintings with incredibly morbid subjects: people without teeth, rotting away; fruit disintegrating. There’s a reason it’s rough, with that very harsh lighting. Beauty is, first of all, a completely subjective thing — I like purple maybe you like red, you see what I mean — in those terms it’s one thing. There are different styles, there’s brutalism, there’s a more decorative style. What I said about Italy and opera is not the fact that beauty is wrong, it’s just, instead of it being the obsession it used to be for this country — I mean, even Pasolini his own own version of beauty! — the theater has stopped developing, and become just a showcase of pretty costumes and nice scenery.

You mean museum pieces?

Right. So then you don’t need to do new productions — (old ones) were beautiful and had a lot of money (put toward them), a fantastic costume designer, what more do you need in life?

Gillian Ramm, Laura Nicorescu & Tamara Gura in Cosi fan tutte from Spirei’s production for Salzburger Landestheater.
Photo: © Christina Canaval

The Met is grappling with this right now; the tension between those who enjoy what is called traditional stagings, and the group who say that’s boring and doesn’t move opera forwards.

First of all I think theater should be a leader, not a follower. The theater should lead an audience, teach an audience, make an audience grow, otherwise you end up with what TV has become, which is an endless number of reality shows, with no imagination, no creativity. In that sense the theater has to lead, in a way that works at every level; you have to show your audience a path and take them down that path. That’s one element of it, of course; the other element is the constant discussion about tradition. I find that very entertaining!

When we refer to “tradition” we’re basically referring to operas in the 1950s and 1960s. It’s a really narrow frame of time for almost 500 years of opera history. If you go and look at the operas written and performed in the 1920s and 1930s, the sets were different; if you look at some of the sets from the early music festivals, they did the most abstract, extreme productions that today would get completely trashed. We’re only referring to the system in the 1950s and 1960s, and little bit of the 1970s; what does it mean? Composers like Verdi cared so deeply about a piece, he would do anything to bring it to life. This debate on tradition, it means nothing!

What it is, is, it’s comfortable — and comfort is laziness. The comfort of it, it’s everything. Nowadays we live in a political world that is only looking backwards, thinking back at the supposed good old times, because we think we know what good old times were — but we never had good old times. Like, “oh remember the 1980s!”

Ines Reinhardt and Sergey Romanovsky in Spirei’s 2013 production of Gluck’s The Pilgrims of Mecca for Salzburger Landestheater.
Photo: © Christina Canaval

People romanticizing the past…

Yes! So we have to move forward; we have no choice. As human beings, there’s no going back.

Where does art and accessibility to newcomers, fit in? A lot of people have said to me that they find opera intimidating, they don’t know where to start, they think they won’t understand.

You’re absolutely right when you say “intimidated” — we just need to take the aura off it. It’s not a church, it doesn’t matter what you wear so long as you come and watch it. The San Francisco Opera is doing this thing where they’re showing the opera at the baseball stadium. It’s fantastic! I’ve been taking Uber cars around, the drivers all ask me where you from what you do, and when I tell them, they say, “Oh how cool, I’m curious!” And I say, listen if you want to see it, go to the baseball stadium, on thirtieth of June, you can see it, and they all say, this is great, cool!

The opening of the 2013-2014 Met Opera season; Eugene Onegin (with Anna Netrebko), broadcast live in Times Square.
Photo: mine. Please do not reproduce without permission.

It’s like the Met broadcasting its opening night in Times Square — I’ve gone to that more than once, and it’s fun. People bring thermoses and sandwiches.

Wonderful! Really, there’s nothing wrong with the art form, it’s fine, it just needs to be taken to the people. Of course, if the people don’t come to the theater, the theater has to go to the people, and find a way to go to the people, maybe not via the big institutions — you need the big institutions to keep the art form alive — but you also need the new world of young companies to bring the artform to the people and even take the people into the theater, or not, at least then it’s an educated choice. People can then reasonably say, “I’ve seen it and I don’t like it” or “Wow, that’s great!”

At least plant the idea…

Yes.

My attitude is, if you do want to come with me to the opera house, please make an effort to look smart; I like doing something special, and it’s nice to see people having the desire to do that. That doesn’t mean opera is snotty or elitist —dressing up doesn’t mean those things. I feel like we have to demystify the opera house as an overall experience, and that extends to fashion.

Absolutely. If a person says, “I’m not wearing a suit but I’m still going,” in a way, from my point of view, that’s the priority (getting them in). It’s like going out on a Saturday night: you dress up, but it shouldn’t feel like, “OH MY GOD I HAVE TO PUT ON MY BEST TUX!”

Simon Schnorr und Sergey Romanovskys in Spirei’s 2013 production of Cosi fan tutti for Salzburger Landestheatre. Photo: Photo: © Christina Canaval

But seeing jeans and sneakers sometimes frustrates me; I feel like we’ve coddled everybody, especially in North America, to constantly feel the need for comfort, throughout every single experience. It seems as you say, lazy. You can look smart casual, but that’s not the same thing.

Ah, sneakers and jeans, you see them everywhere. You can spend more on jeans than an actual tuxedo, D&G and Cavalli make some very fancy jeans! Times change, and all that develops, it’s absolutely fine, and again, one can like it or not like it. You have all the right to say, “If you come with me, look decent” — I don’t have a problem. What I think is crucial is to bring opera to the people, as well as people to the opera.

Nowadays, unless you live in Germany or Austria or a few other countries, you don’t grow up with music, it’s not taught in schools, the opera house is not a place where you go. I worked a lot in Germany and Austria, and it’s completely part of the culture. You take your kids to it, they grow up watching music and go to the opera and they are completely unfazed by it. They are not shocked, they have a relationship to culture; they know what they’re talking about when they discuss it.

It’s woven into the fabric of society there.

Yes, moreso than in Italy. I’ve worked so little in Italy; life has brought me outside. There’s a lot one has to say “no” to; it also has to do with the funding, (Italian companies) can’t really plan ahead because they don’t know if they will have money next year or how much money they might have. Italy has been cutting things regularly, every year, sometimes mid-season. So theaters are trying. It’s harder for sure — but Italy has also mismanaged money for a really long time.

And now it’s catching up with them?

Of course.

Hannah Bradbury, Raimundas Juzuits, Florian Plock, Kristofer Lundin und Lavinia Bini in Spirei’s 2016 production of Don Giovanni for Salzburger Landestheater. Photo: © Anna-Maria Löffelberger

It’s always the arts that gets cut first…

Always, and it’s the biggest mistake a society can make.

Education and arts are essential; theater is essential; if you study it, if you go, if you do it, you learn to be in somebody else’s clothes, somebody else’s problems, you start to empathize with those problems and become more tolerant and less judgemental, you are a better person. And being an audience in a theater makes you a better person also. It teaches you to be in a room packed with other people, and to really listen to something, not interfering with it or with others, but sharing an experience.