Category: opera Page 14 of 28

“The True Sound Of The Human Voice”

On May 4, 2017

Being in Europe again is a special sort of a treat; there’s an overwhelming number of cultural options at any given moment, and it can be easy to choose one thing, only to find out later there’s something else at the exact same moment that you just can’t miss.

One place I’d really love to be right now is San Francisco, specifically because of Berlioz, and more specifically, because of who is singing it. Thursday (that’s tonight), Friday, and Saturday (May 4, 5, 6), Maestro extraordinaire Charles Dutoit leads the San Francisco Symphony and Chorus in performances of Berlioz’s magnificent Requiem, which features none other than American tenor Paul Groves, whose work I so thoroughly enjoyed on my last opera trip to Europe in February, when I heard him sing another work by the great French composer, his immense La damnation de Faust at Opera Royal de Wallonie.

I’ve always loved French opera, but Groves’ performance as Faust (which he stepped into at the eleventh hour, after the scheduled lead was ill) brought a whole new level to my appreciation, with his incisive phrasing, beautiful diction, and warm tone not only complementing the intricacies of Berlioz’s challenging score, but highlighting its power and poetry. It was exquisite, divine.

A proud New Orleans native, Paul was a winner of the Metropolitan Opera’s prestigious National Council Auditions in 1991, and is a graduate of the Met’s Lindemann Young Artists Development Program. He has an impressive roster of performances to his credit, and has appeared at the Lyric Opera of Chicago, Los Angeles Opera, Madrid’s Teatro Real, Theater an der Wien (Vienna), Opéra National de Paris, and the San Francisco Opera, among many others. He returns to the Metropolitan Opera in NYC this December, as Danilo in the very fun, apologetically frothy The Merry Widow.

I had the chance to catch up with Paul as he prepared for his next Berlioz in San Francisco. Just like the man in person, Paul is forthcoming in his opinions, unpretentious, funny, generous, and warm, and like I said, he has a knock-your-socks-off voice, too. Bien sur!

What do you think the big differences are between French opera and other forms, like Italian, and German opera?

There are a few big differences between French opera and other forms, but the biggest has to be the language itself. French operas are built around the language more than any other forms. This is why it’s is so difficult to translate into other languages; I’ve never heard or sung a convincing translation of a French opera — whereas I have sung many wonderful translations of German, Italian and Russian works.

Therefore, it is particularly important to pay close attention to diction and vocal production when studying, and finally performing, French opera.

What kinds of demands does French opera place on you vocally?

I feel the language is very helpful for vocal technique — the closed vowels tend to keep the voice gathered when pronounced correctly. The demand comes from the extended tenor range of many French operas. A majority tend to be at least a step higher than most Italian or German romantic operas.

One of the reasons for this is the tenor technique was completely different at the time these operas were written. The tenors these roles were written for approached the high notes in a supported head voice, and the modern tenor technique is more of a chesty, manly sound in the high register. Now, this makes singing the role more difficult, but it’s also much more thrilling.

Why is Berlioz so special for you?

Berlioz was many years ahead of his time when you consider what was coming out of France and Italy at the time. His music wasn’t well-accepted until later in his life, and still today, many musicians have their doubts about what he intended with his orchestration. I’m doing one of his pieces at the moment which has a bass trombone-and-flute duet. Strange, but amazing when performed correctly.

In his operas, the drama is written into the orchestration and text is not necessary to feel the full power of the drama. An example is “The Ride to Hell” in the last part of La damnation de Faust.

Describe your first powerful opera memory.

Well, my first powerful opera memory is Pavarotti’s recording of Canio’s aria. My father, who was a conductor, brought home a Pavarotti album and after hearing it a few times, I conveniently added his album to my collection of records, which was mostly a Led Zeppelin and Beatles collection.

I was completely blown away, but had no idea that all opera singers (tenors) didn’t sound the same. I found this out when a traveling opera company came to my town a year later to perform the complete opera. I was so disappointed in the tenor’s performance. Looking back now, he was probably fine. Who could live up to my expectations at the time? Only one guy!!!!!

You’re going to be at the Met next season in The Merry Widow; how do you approach performing comedy versus tragedy? Do you have a preference?

I don’t have a preference between comedy and tragic opera, but I get to do comic opera so infrequently that I really look forward to the fun and laughs, not only from the audience, but in the fun we’ll have in the rehearsal room. I’m playing opposite one of my best friends and opera soulmates, the lovely Susan Graham.

The challenging part for me and most singers is always the dialogue — how to make it real and heartfelt. We’re so used to relying on the music to help, but when the music is missing, it feels like we’re standing up there with our pants down!!

The one thing all newcomers to opera should know is…

… be prepared for the power of the unamplified human voice! This is the one thing that newcomers are so shocked about.

It is my life and art form, but I still get goose bumps when I hear a powerful, beautiful, natural voice. This is what separates opera and classical singing from all other art forms. Amplified performances can be enhanced, tuned and sometimes lip-synced. That’s not the case in classical singing; what you hear is the true sound of the human voice with all its flaws and gloriousness.

Marcelo Puente: “You Can Feel Every Word”

By Catherine Kustanczy

On April 28, 2017

In opera, personal

In the early days of video recording technology, my mother would tape any and every opera production broadcast on PBS. By the end of the 1980s, we had a huge collection of VHS tapes, all carefully labelled in my mother’s tidy handwriting. Some we’d never watch again; some lived in the VCR. One that I kept going back to, from the time I was a child, was Puccini’s Tosca; I think it was the first opera I watched repeatedly (at least until we got hold of a copy of Francesco Rosi’s raunchy Carmen), and one I never got bored of, either musically or dramatically. Many a rainy summer’s day was spent in front of the TV, my friends and I with our root beer floats in hand, watching Hildegard Behrens, Placido Domingo, and Cornell MacNeil swirl, roar, sweat, and sigh through Franco Zeffirelli’s opulent production. My youthful passion for the production was what inspired my mother to return to the Met after well over a decade of absence; this time she brought an excited little girl who sat pie-eyed throughout the whole thing, wearing shiny shoes, a smart little red jacket, and a giant smile.

We owned a few classic recordings of Puccini’s famous 1899 work, and even now, putting those vinyl recordings on (the Callas/Gobbi version especially), I’m struck by just how dramatically expressive the score is. Tosca a great introduction for young newcomers to the world of opera; the music clearly tells you everything you need to know. A passionate lady lead! A persecuted lover! A rip-roaring bad guy! It’s the stuff of great novels, old Hollywood, dreamy (if doomed) romances. As well as entertainment value, so many personal memories are connected to this work, including the premiere Met visit. I was simultaneously scared of and thrilled by Scarpia, and for years, I couldn’t see (much less hear) MacNeil as anything but the dastardly villain of the piece. Hearing the opening notes of his introduction still sends a shiver down my spine. Years later, my father would play the famous “E lucevan le stelle” (“And the stars were shining”) for me on his violin, unbidden. It was the last thing I heard him play.

It was a thrill to learn Argentinian tenor Marcelo Puente would be performing as Mario Cavaradossi (who sings that famous aria in the opera’s last act) for the Canadian Opera Company’s spring production of Tosca — and opposite the great soprano Adrienne Pieczonka, whose work I so enjoyed last month at the Met, in Fidelio. I’ve followed Puente’s work for years, and have admired his passionate, head-first approach to dramatic material, as well as his golden, honey-toned tenor voice. He recently made his Covent Garden debut in another Puccini role, as Pinkerton in the Royal Opera’s Madame Butterfly, to rave reviews. Next season, he’ll be the dramatic role of Don Alvaro in Verdi’s La forza del destino at the Semperoper in Dresden, and will also be making his debut at Opera National du Rhin in Strasbourg, in a new production of Riccardo Zandonai’s Francesca da Rimini, as another doomed romantic hero. What’s up with that? I spoke with Marcelo about singing romantic leads, why he dropped out of medical school (true story), and just why audiences should care about a character like Cavaradossi.

Photo of Marcelo Puente by Helen Bianco

Listed, Schmisted

By Catherine Kustanczy

On April 18, 2017

In opera

If you are active on social media, you may have seen the recent “musical” lists going around and being shared by contacts on Facebook, in which favorites (non-faovorites as well) are revealed. An opera version was quick to follow, and I’ve been reading the lists shared by various friends (including those working both inside and outside the industry) with much interest.

Tempted to join the trend, I found (shock) my own version was a bit too long, and it just became easier (and more logical) to post here, for everyone, including my many lovely European readers.

Hopefully some of these choices inspire, amuse, illuminate; some may really raise eyebrows, others may inspire smirks. Either way, I’d love to know if any of these might prod you, good reader, into either listening or watching a work in a new way, or even experiencing an opera for the first time. I hope so! Either way, enjoy, and feel free to share your thoughts.

Opera I hate:

I find this to be such a reductive question; I don’t hate any of them. Sometimes a certain production can lead to intense dislike, even hate, and that’s a pity; sometimes, the opposite is just as true, with a smart production elevating mediocre material, illuminating and inspiring audiences (which is, of course, lovely and delightful). There are definitely a lot of mediocre works, and directors, and it’s so often a question of finding the right pairing. I don’t envy programmers at all these days, especially with the current challenges facing the art form.

Opera I think is overrated:

There are no overrated operas; only undercooked (or over-heated) ideas in presenting them.

Opera I think is underrated:

Two, off the top of my head (though there are many):

– Stitch, by Anna Chatterton (who I interviewed last summer) and Juliet Palmer; this is a very moving work about sweatshop workers, deceptively simple, but more timely than ever;

– L’enfant et les sortileges, by Maurice Ravel, which I saw for the first time this past winter in Berlin, in a very beautiful production at Komische Oper. It’s a whimsical work, with a very impressionistic score, and its libretto is ripe for directorial creativity. I also think it would make a great introduction for kids, though it’s rightly been pointed out that the work is more of “a musical grotesqueness for adults rather than a children’s opera.” True, but still vastly underrated.

Opera I love:

There are truly too many things I love to mention. Even with works I take issue with, I almost always tend to find something I like, or even love, and sometimes, it’s a great performer who will elevate the material (or my experience of it) from meh to marvellous.

For instance, seeing (and interviewing) Patricia Racette in the title role in Madame Butterfly at the Canadian Opera Company in 2014 really made me re-think, and thus, re-experience this work in some important ways. I still find large swaths of it troublesome, but Racette’s interpretation and understanding of the role is so great, and she so very much made it her own (and from what I’d call a refreshngly feminist place), it was like seeing the famous Puccini work for the first time. Great artists have this power.

Opera I cherish:

This feels like a personal question; the act of cherishing something implies a kind of intimacy and comfort coupled with deep gratitude. I’m grateful for every work, but things that speak to me on a personal level include Donizetti’s L’Elisir d’Amore (its tuneful score is so warm, so bright, so full of humanity), Mozart’s Le nozze di Figaro (such a gorgeous study of fidelity, authenticity, and the corners of the human heart), and Berlioz’s Le damnation de Faust — not strictly an opera in the traditional sense, but when it done right, can be very powerful, as my experience of it in Europe this past winter so wonderfully highlighted.

Guilty pleasure:

There is no such thing as guilty opera love, is there? That implies there’s a kind of snobbery within the art form about things opera fans are “supposed” to like or dislike – to hell with those rules, and that way of thinking. Pleasure is pleasure; music is music; love is love. Go listen to something you enjoy, and don’t feel ever feel guilty that it somehow isn’t cool enough for the supposed “in” crowd.

Opera I want to see revived:

In North America, it would be nice to see more Meyerbeer put onstage; his stuff is musically dense, but has intense passages of musical wonder rich with fascinating characterizations as well as great theatrical possibilities. I’d also like to see Berlioz’s Benvenuto Cellini, Puccini’s La Rondine, and the work of Hungarian operetta composer Emmerich Kálmán staged far more often on these shores.

Opera that I first saw on DVD:

Forget DVDs! I have fond memories of regularly watching (and taping) Met broadcasts on the PBS program, “Great Performances.”

Opera that I first saw live:

Bizet’s Carmen (at age three!).

Opera that I first performed in:

I’ve never performed in opera, but I did act in the theater many years ago, and I particularly enjoyed Shaw’s Saint Joan, Sophocles’ Antigone, and Ophelia in Shakespeare’s Hamlet. I walked away from the stage years ago, and thankfully, found just as much value, power, and profundity in comic works as I used to see solely in tragedy. Ah, the wonderful things maturity brings.

Opera I most recently saw:

Live, La traviata recently at the Met in New York City (rundown here); on PVR, Wagner’s epic Lohengrin with Jonas Kaufmann and Anja Harteros. The latter is a very good example of the right production hitting the right emotional and intellectual notes in order to produce a whole new experience and understanding of the score. The production, from 2009 and done at the Bayerische Staatsoper, was a very modern, unusual staging (which provoked some strong reactions in the opera world); I’ve enjoyed it for a while now (this wasn’t my first PVR viewing), and I thought Richard Jones’ directorial ideas truly suited the work; his sometimes-risky concept was helped immeasurably by the utterly committed performances of its leads, who were heartbreaking and fantastic and… sigh.

Greatest opening:

A few thoughts here:

I think Verdi had some bombastically good openings musically; you can’t beat the boom-boom-bang wonder of Rigoletto or Il trovatore or La Traviata. I remember my mother always seemed as if she was on the verge of jumping out of her chair, either at the opera house or at home, whenever the opening bars of any (/all) of these was played (and that’s after the overtures). I remember her shoulders hunching up, her eyes squeezing shut, her fingers curling into fists, as the music played, and her saying, quietly, after a few moments, “ohhhhhh, Verdi….” You have to admit, he is great with the attention-getting openings.

For myself, I think one of the most intriguing and misunderstood of openings is Don Giovanni; it’s really not at all as clear-cut as many believe it to be; I’m really not sure Donna Anna is as pure as many have made her out to be; I know how risky that is to say, but pffffft… the music whispers, at least to my ears, that we should be questioning, completely, the scene, in and of itself, and not taking its events — or characters — at face value. I deeply like (and heartily agree with) how director Sven-Eric Bechtolf staged this, along with the entire opera, last summer in Salzburg. Read on…

Greatest ending:

I dislike the “greatest” label – I find it insultingly reductive, and taste is such a personal thing anyway — but I will say, I enjoy the ending of Don Giovanni, because, like Austen’s great novels, it ends with people who are facing a new and uncertain kind of beginning; once the title character gets dragged off (to wherever — hell is non-existence to some), everyone has to figure out how and why to live now that he – that viral, vibrant tornado of chaos — is gone.

To those who know me well, it’s not a grand secret that I really, really loved Sven-Eric Bechtolf’s staging of this opera in Salzburg last summer (a re-mount of his 2014 production); it struck chords with me in ways I still can’t quite explain – though the fact he treated the women as actual human beings with real needs went a long, long way (for me) in further appreciating and understanding this troubling work, and it all started with a very sexy opening, and closed with… more suggestion of sex, a kind of continuation of that restless, rule-breaking chaos that is both so dangerous and attractive. Mozart and Da Ponte wrote a great ending full of question marks; Bechtolf took that and ran with it. Bravo!

Worst middle of an otherwise great opera:

I really don’t like this question, because it doesn’t take into account how damn hard the writing process actually is.

Many times librettists and composers (to say nothing of writers, editors, producers, and other assorted creative types) struggle against the dreaded middle-section-sag, sometimes to no avail. This is where good directors, conductors, and performers become extra-special important (more than they already are, of course); it’s up to the creative teams (sound as well as visual) to create something special with material that develops such unfortunate (if occasionally unavoidable) sag. Find something to elevate and illuminate, for audiences, and for yourselves; I think this is the aim of many good artists past and present, to be honest, and it is worth keeping in mind when you find yourself nodding off in the middle of anything.

Greatest opera of all time:

The next one I’m going to see, of course — or that you’ll suggest to me.

Too Much Is Not Enough

By Catherine Kustanczy

On April 7, 2017

In opera

(Photo: mine, link / Please do not reproduce without permission)

Is too much of a good thing really so bad?

In Salzburg last August, I was spoiled in seeing operas and concerts every day and night of my visit; I generally avoid this, as it not only hurts the brain, but robs the soul of some meaningful (and usually much-needed, in my case) contemplation, as well as necessary human connection and company. I like to sit between things and drink, write, and live: go to dinner, go to galleries, take long walks — but mostly, think, feel, absorb. Good music, well sung and presented, offers me big meal needing a slow digestion, which is best done in silence and sunshine, over wine or cocktails, with friends in lively talks, on walks through the woods with birdsong and breezes.

Alas, I didn’t get much time for any of that on a recent trip to New York City, where I saw four operas over a three-day visit, with various work-related things to complete two of the three day times. New York in winter is challenging enough; being exposed to so music, and so many ideas, presented a wholly unique level of emotional and intellectual heartburn. Then again, it was its own kind of binge, and I can’t say I’m sorry for indulging. All the operas I saw (Fidelio, Idomeneo, Romeo et Juliette, and La Traviata) left strong impressions in different ways, but what linked them all was the tremendously high quality of singing, and, in some cases, the intriguing smart approach to directing.

The Met’s revival of Fidelio, for instance (which closes tomorrow, Saturday, April 8th), was so good that I still recall (and am stopped in my tracks by) various images it presented. Beethoven’s sole opera revolves around a woman, Leonore, who disguises herself as a man to rescue her husband Florestan, who is being held prisoner by a ruthless state governor, Don Pizarro. Many people not familiar with opera will be familiar with the famous “Leonore” overture, the third in a series of pieces Beethoven wrote in his frenzy to perfect the work. I have clear memories of seeing this opera at the Canadian Opera Company decades ago with my mother, and her writing an angry letter to the company after the production did not include this overture; to her, it was sacrilege, but of course, it was difficult to convey, in a diplomatic matter, that the habit of playing it as part of an opera production (usually just before the finale) had fallen out of fashion, for logistical as well as dramatic reasons. I still think of her, and in fact, did again this trip. Jurgen Flimm’s production, however, is so smart, and the performances so very engaging (particularly sopranos Hanna-Elisabeth Müller and Adrienne Pieczonka, who I am very much looking forward to seeing in the Canadian Opera Company’s Tosca), that I honestly didn’t miss that bit of nostalgia at all. Sorry, mom.

Fidelio bows (Photo: mine, link / Please do not reproduce without permission)

Flimm, who is Director of the Staatsoper Berlin Unter den Linden since 2010 (and whose work you’ll be reading more about in a post later this spring) has placed the action of the work —traditionally set in late 18th-century Seville after the French Revolution — in immediately-post-WW2 Europe. In doing this, he uses imagery that some (especially those of us familiar with Holocaust photo documents) may find familiar; piles of shoes, for instance, along with other personal belongings, are piled into corners in the underground dungeon where Florestan is being held, the only signs of the vanished, the ranks of which Don Pizarro firmly plans his prisoner to join. Director Flimm gives a poignant commentary on the nature of power here, and how its abuse creates political discord which is expressed as a deep social malaise. Thus, relationships are given a distinct emphasis: those between employer and employee, prisoner and guard, father and daughter, husband and wife — and, more broadly, men and women. Everything is poisoned, and thus, everyone.

Nowhere was this illustrated more clearly than in the way Flimm staged the interactions between Leonore (Adrienne Pieczonka), the prison warden Rocco (Falk Struckmann), Marzellina (Hanna-Elisabeth Müller) and Jaquino (David Portillo), an assistant to Rocco at the prison where Leonore’s husband Florestan (Klaus Florian Vogt) is being held illegally by Don Pizarro (Greer Grimsley). The stark contrast between the Marzellina/Jaquino and Leonore/Florestan relationships was highlighted at the ending of the opera, which, for all its raucous joy, had a satisfyingly bitter edge, with Flimm showing the corrupt Pizarro being led to the gallows by celebrating freed prisoners, and Marzellina’s look of horror as she realizes the “boy” she’d been infatuated with was really a woman; Jaquino is intent on harassing (or rather, bullying, in the manner of his old boss) the poor girl into submission, as she drops blood-red roses across the celebratory scene. Leonore and Florestan are hoisted in joy by the happy onlookers as Robert Israel’s stark set, with its unmistakeable gallows, looms over the proceedings, a grim reminder that the happiness on display is not only fleeting, but mixed with violence, the sort that its purer form (in the form of Leonore) sought to eradicate. It is a caustic ending that offers a fantastically smart and very timely non-conclusion to what many consider to be one of the most difficult works in the operatic repertoire.

Matthew Polenzani as Idomeneo / Photo: Marty Sohl/Metropolitan Opera (via)

Less about production and far, far more about the singing in and of itself providing the drama, Mozart’s 1781 opera Idomeneo, featured a stellar cast that included soprano Elza van den Heever (whose work I so enjoyed last fall, when she performed the lead in Norma with the Canadian Opera Company) and tenor Matthew Polenzani, who is the recipient of a 2017 Opera News Award (which are being handed out in NYC this coming Sunday, April 9th). More than once during that Friday evening performance I found myself shutting eyes and throwing head back in sheer wonder at Polenzani’s marvelously emotive voice, his “Fuor del mar” in the second act a particularly heartfelt interpretation. (Sidenote: I am greatly looking forward to the revival of his Nemorino in L’Elisir d’Amore next season; expect a post about that.) Lindemann Young Artist Development Program graduate Yin Fang, who sang the role of Ilia, has a gorgeous, crystalline soprano, as well as a gracious stage presence that made her scenes with mezzo soprano Alice Coote (in a pants role, as Idamante, son of the title character) a joy to listen to. The 35 year-old production, by Jean-Pierre Ponnelle, was tasteful if homogenous — which was useful, because it allowed a pure experience of Mozart’s music, in and of itself. Maestro James Levine conducted a lustrous Met Orchestra that allowed for the score’s youthful vivacity to shine through, something the singers took full and glorious advantage of.

(Photo: mine, link / Please do not reproduce without permission)

Equally compelling was American theatre director Bartlett Sher‘s Romeo et Juliette, French composer Charles Gounod’s tuneful 1867 interpretation of the Shakespearean tale of the star-crossed lovers. The house was, I think, nearly sold out for this special closing show, which featured star turns from soprano Pretty Yende and tenor Stephen Costello in the leads. Yende is a highly watchable performer, her lilting voice as responsive and graceful as the fluters of her gorgeous Catherine Zuber-designed costumes; she shared an exceptional chemistry with Costello, whose wholly romantic rendering of “Ah! Lêve-toi, soleil!” made more than a few of the ladies around me happily sigh. Making his mark in a small but pivotal role as Frère Laurent as English bass Matthew Rose (who I interviewed recently); his authoritative bass voice expressed a wonderfully nuanced range of emotions, and that, together with the way he cleverly used his physicality (Rose is very tall), suggested a touching paternal protectiveness of the young lovers.

Last but not least on my NYC opera whirlwind trip was Verdi’s La Traviata, perhaps one of the best-known of all works, though this staging was easily one of the most modern I’ve attended. The story, about a popular, if secretly ill, courtesan who finds real love and ultimately gives it up when pressured, only to tragically die (come on, you knew that was coming), is one of the most popular works in opera, with a very famous drinking song that everyone (yes, even you) knows and has hummed to once or twice. Directed by German theater artist Willy Decker from a 2005 production at the Salzburg Festival, the set principally consisted of a massive curved wall, with an overall design aesthetic containing strong German expressionist influences. Violetta’s place as an isolated woman who craves (and survives on) male attention was confirmed and re-confirmed throughout the evening, as was director Decker’s belief that Traviata is (as he notes in the program notes) “a piece about death”; by the end I felt as if I’d been continually hit with a large frying pan labelled Big Artistic Ideas. If it all seemed dramatic and theatrical, I suppose it was meant to, wiping away any lingering memories of traditional productions involving big dresses and fans, and I was actually quite pleased the performers put their whole passion into this endeavour, offering vocal interpretations that precisely matched the strong directorial vision. Its leads —soprano Sonya Yoncheva as Violetta, tenor Michael Fabiano as Alfredo, and baritone Thomas Hampson as Giorgio Germont (Alfredo’s father) — delivered searing performances that were entirely modern and watchable, even, dare I say, cinematic, with Fabiano, especially, easily delivering, one of the most memorable (and applauded) interpretations of Alfredo I’ve ever seen; he wasn’t merely passionate about Violetta, but dangerously obsessive. The fact I found myself so impressed is, in retrospect, notable; this was one of my mother’s very favorite works, and I suspect I have seen it now many hundreds of times. I also suspect she would have, in her infinite Verdi wisdom, been as gaga over the performances as I was.

The set of La Traviata (Photo: mine, link / Please do not reproduce without permission)

La Traviata continues at the Met to April 14th, with Carmen Giannattasio as Violetta, Atalla Ayan as Alfredo, and, starting tomorrow night (Saturday, April 8th), Placido Domingo as Giorgio Germont. Go! Andiamo! You may not agree with all of Decker’s creative choices, but I guarantee you will come out with at least one strong image from this production seared into your brain (never a bad thing, ultimately), and with the brindisi — as vibrant a piece of music as ever — still ringing in your ears.

Andiamo!

By Catherine Kustanczy

On March 30, 2017

In classical, Europe, interviews, music, opera, teaching, voice

Matthew Rose as Baron Ochs and Renee Fleming as the Marschallin in Der Rosenkavalier
Photo: Royal Opera House / Catherine Ashmore (via)

If you had asked my dear mother what she would have wanted to be, more than anything in the world, she would have quickly responded, without hesitation: a singer.

Having been a talented child singer and never developed (or rather, had the opportunity to develop) her gift, she turned to the administrative and financial worlds (with much success), but her intense love of singing — and singers — never abated, and expressed itself throughout her life. Introduced to opera as a teenager (via CBC Radio broadcasts, as well as vinyl recordings), she balanced her passion for one art form while enjoying others, including rock and roll and jazz — though it must quickly be noted here that all the artists she loved in those genres (Elvis Presley, Roy Orbison, Dean Martin) had equally beautiful voices. Things like fach, squillo, and vibrato were foreign concepts to her, and though she was always open to learning new things, she also felt that too much critical listening would hinder her pure appreciation of the art form; I confess to being frequently exasperated by this, my line of thinking being that one’s enjoyment is only deepened through such detailed knowledge, but… there is, in contemplating some of our past opera-going experiences, something really moving and pure about her direct experience of wonder and joy in listening to music, and voices in particular.

Photo: Lena Kern

Listening to bass Matthew Rose, I’m brought to that same place of pure enjoyment; like any singer, in any genre but most especially in opera, he’s spent countless hours practising and perfecting his craft, and yet, so often I’ve found, when he opens his mouth… pure joy comes out. The word in German, “freude,” referenced (and conjured) so much throughout the choral section of Beethoven’s Ninth Symphony, and it’s a quality I think that largely defines Matthew Rose’s approach to his craft, as well as to my own experience of it. A native of Brighton, Matthew began his career studying at the Curtis Institute of Music in Philadelphia, and from there, became a member of the Young Artist Programme at the Royal Opera House, Covent Garden. In 2006 he made his debut as Bottom in Benjamin Britten’s A Midsummer Night’s Dream, in what became an award-winning (and much-vaunted, oft-repeated) performance. He has a wide catalogue of roles he’s sung, from King Marke (in Wagner’s Tristan und Isolde) to the title character in Le nozze di Figaro (The Marriage of Figaro) and the villainous Callistene in Donizetti’s rarely-performed Poliuto. As you might expect, Matthew’s worked with a range of great conductors, including Antonio Pappano, Gustavo Dudamel, a trio of Sirs (that would be Andrew Davis, Colin Davis, and Carles Mackerras), and future Met Opera Music Director Yannick Nézet-Seguin, and won a Grammy Award for Best Opera Recording for Britten’s Billy Budd, in which he sang the role of the dutiful (if doubtful) officer Ratcliffe.

I had the privilege of seeing Matthew Rose perform live last fall at the Metropolitan Opera, where he was appearing in the revival of Michael Grandage’s 2011 production of Don Giovanni, as an exasperated Leporello to Ildar Abdrazakov’s confident, eyebrow-waggling Don. This was a lively, vivid interpretation, not at all cliched or cartoonish, but sad, exasperated, hopeful and cynical at once, his approach to the famous catalogue aria a scintillating mix of musicality and theatricality, and his chemistry with fellow bass Abdrazakov entirely charismatic. Matthew’s Leporello was warmly, recognizably human, truly touching. Those in Dresden are wise to run to the Semperoper soon, because he’ll be singing the role again for two dates in April.

Romeo et Juliette bows. (Photo: mine; please do not reproduce without permission)

Having recently seen him perform live yet again at the Met as Frère Laurent (Friar Lawrence) in Gounod’s Romeo et Juliette, Rose delivered a mix of authority and heartfelt gentility, his strong voice and clear diction embracing the complex demands of the Shakespearean-based work. One got the feeling watching him that the character was rooting for the put-upon lovers wildly inwardly, while going through the motions of his station outwardly. New York also saw Matthew give a recital at the Weill Recital Hall at Carnegie Hall, which featured Matthew briefly reprising the role of the boorish Baron Ochs (from Strauss’s Der Rosenkavalier) as an encore, a role he’d performed onstage opposite superstar soprano Renee Fleming at Covent Garden as part of the ROH’s Winter 2016/017 season.

On Friday (March 31st) and Saturday (April 1st), he’ll be performing with the Deutsches Symphonie Orchester Berlin, in a delicious-looking program that includes works by Strauss, Beethoven, and Schubert. Even more time will be spent in Europe this coming summer, however, when Matthew will be leading a course in singing at the Scuola di belcanto in Urbania, Italy. What, teaching? Italy?! Why now? Well… why not?

Photo: Scuola di belcanto (via)

How did you become involved with the Scuola di belcanto?

Twenty years ago, as a 19 year-old who didn’t know much either about singing or what I wanted to do in life, I attended a month-long course in Urbania, in the Marche region of Italy. The course was at a language school, Centro Studi Italiani and there was an opera singing part of the course with students and faculty from Juilliard, Curtis etc. It was here that my path to becoming an opera singer was cemented; I was first exposed to what real singing was, and met some very important people in my life, including Mr. Mikael Eliasen, who runs the voice department at Curtis. I ended up, very luckily, studying at Curtis and becoming a professional singer, something that would not have happened, I’m sure, had I not done this course.

Last year, Centro Studi Italiani asked me if I would consider doing a course there. About three hours later I had worked something out and the people that I thought would make a great team and now it looks like we are all set for the first one this summer.

Who is this course for, specifically?

It’s for people who want to further their singing — we have talented students coming, and some professional singers who want to add tools to their armour. This is a business where you can always improve, and I’m glad there is this range of people attending.

Why bel canto? Why Italy?

I really believe that to be a great opera singer one has to master several very important facets; vocal technique, musical excellence, dramatic intention and language. Italian, being the mother language of opera and from which all vocal techniques are established, is the language all singers should have at least a basic understanding of. So we are doing this course, where participants spend a large amount of time learning Italian and then are coached and taught the other aspects. For the first week I want to do evening sessions, where we do singing and talk about combining these four aspects in the best possible way, without neglecting anything that is wholly necessary. So bel canto in this instance isn’t necessarily the act of singing a specific kind of repertoire, but becoming a complete singer from which great art and music can flow.

How did you go about structuring the program?

This was quite simple: Italian lessons in the mornings, coaching and singing lessons in the afternoons, seminars in the evening for the first week, then coachings and preparation for end of course concerts for the second week.

Photo: Lena Kern

What’s the significance of having the involvement of Rosenblatt Recitals?

Ian Rosenblatt is an amazing man who serves our industry and art form in London in an incredible way. He puts on concerts in London to highlight a certain type of singer who have a great mastery of vocal technique and other performance attributes, mostly coming from the Italian bel canto school. I thought that this initiative would be something that he might be interested in and he has very graciously and generously given a very significant amount of money to make the musical side of the course possible. In fact when the participants come, they will only be paying towards the Italian school and accommodation.

What was the process for selecting the other instructors?

First of all, Joan Patenaude Yarnell, a great singing teacher from New York, and the person who led the course in 1997 when I first came had to be involved. She understands the physicality and internalization of singing better than any one I know. I wanted a stage director and great musical staff, and we have the best in Louisa Muller, a staff director at the Met, Eric Melear from the Wiener Staatsoper, and David Syrus, who is very soon to be stepping down as Head of Music at Royal Opera House after forty years. They’re all professionals of the highest caliber and experience who will get the best and most out of everyone attending.

Matthew Rose as Sparafucile in Rigoletto
© Johan Persson/ROH 2012

How much do you think participants will pick up and absorb within two weeks?

We’ll see, but I’m hoping that eyes and ears and hearts will be opened. There is an awful lot of time in two weeks to absorb, and people coming from very different backgrounds and ideologies. I really wanted a nice mix between American-trained singers and British singers. There is so much to learn and understand from how we do and think about things so differently.

How does teaching influence your work as a performer?

I do believe I have learnt so much from teaching and coaching the last few years. I have always wanted to help young singers, in the ways I was so fortunate to be helped by a whole swath of amazing people all through my journey as a singer. I really want to help the next generations of singer be the best they possibly can be for our wonderful art form to flourish. With the best possible things happening onstage, there should be no doubt why these amazing pieces should not exist and flourish, always.

Ah, Landerida!

By Catherine Kustanczy

On March 14, 2017

In classical, music, opera, writing

On the train through Luxembourg. (Photo: mine; link; please do not reproduce without permission)

Traveling is a very special thing made all the more special when done in the service of a passion.

As I alluded to in my last post, I journeyed through parts of Germany, Belgium, and France this past January and February, on what I came to refer to as my Mid-winter European Opera Jaunt. It wasn’t a conscious plan, but, as more and more opportunities for attending interesting things came up (all within the highly doable, intimate geography of Western Europe), the more it seemed wrong to pass them by.

There were many memorable moments, and also a few missteps. The Gospel According To The Other Mary premiered in Los Angeles in 2011, and a finalist for the Pulitzer Prize for Music in 2014. A kind of oratorio-opera hybrid integrating various original texts from Louise Erdrich, Dorothy Day, June Jordan, Hildegard von Bingen, Rosario Castellanos, Primo Levi, Ruben Dario, and the bible, the work focuses on the mythology of the Magdalene and her feminist influences and underpinnings. The series of performances (three in total) was made special by the coming together of librettist Peter Sellars (the first director to take a residency with the orchestra for the 2015/2016 season) and composer John Adams (the orchestra’s first composer to take a residency with the BP). Sir Simon Rattle led a sparky Berlin Phil, with emphasis on the piece’s rhythmic qualities; the Maestro also worked to highlight the piece’s elegant lyricism, which was most clearly expressed through the countertenor passages, drawing stark distinctions between it and the score’s frequently jagged texture. I couldn’t help but feel, in listening and watching, that Sellars (whose directing work I greatly admire) desperately needed a dramaturge; the epic-aspiring Mary frequently felt unfocused and overlong, stuffed with too much exposition, too many ideas, too much sustained intensity that, as Adams’ rich (sometimes too-rich) score wore on, became exhausting to listen to. The last third, in particular, felt to me like a test of endurance, rather than the spiritual awakening I think Mary was meant to be.

Berlin Philharmonic bows. (Photo: mine; link; please do not reproduce without permission)

As a performance space, the Philharmonie is itself far more intimate than what I was expecting. The excellent Digital Concert Hall (which broadcasts the BP’s concerts live online and has an incredibly comprehensive archive of past live performances and interviews for subscribers) makes it look rather immense, but I confess to feeling delighted at my spatial expectations being totally dashed once I entered and sat down. The hall, designed by Hans Scharoun and opened in 1963 (after a series of setbacks), provides a lovely sense of relationship not only with the orchestra and performers, but with one another as concert-goers. Works that have been performed here for over five decades take on a special (dare I say intimate) meaning, thanks to the Philharmonie’s cozy architectural design.

Post Petrushka/L’Enfant. (Photo: mine; please
do not reproduce without permission)

Not strictly an opera but an entertaining, theatrical work nonetheless, Stravinsky’s Petrushka, together with Ravel’s L’Enfant et les sortileges (a “Fantaisie lyrique”) were presented in a bright, vivacious production by Komische Oper. British company 1927 Productions brought the vivid visual poetry they’re known for to each work, creating a vibrant dance of animation and live action that exploded with color and movement, while highlighting the tragic, comic, and thoughtful points of the wildly different works.

Ravel’s L’Enfant, about a naughty schoolboy (its English translation is The Child and the Spells), was, by turns, comic, abstract, thoughtful, profound, and utterly delightful, with the entire cast giving bravura performances. 1927 are set to present the North American premiere of their celebrated version of Mozart’s The Magic Flute at Opera Philadelphia this September. I’ve never been to Philadelphia, but this is an awfully tempting reason to go. The trippy production, while delighting the eyes, offered a wise sonic reminder of the jaunty rhythmic underpinnings of each work; conductor Markus Poschner led a sprightly reading of both scores, one that beautifully complimented the gorgeous visuals, note for note, while maintaining a deft audio poetry. In all frankness, I’d dearly love to see this production in North America, sooner than later; it feels like a truly wonderful introduction for opera newbies, and a gorgeous reminder of the wonder of the art form and its myriad of theatrical possibilities for longtime fans.

Equally whimsical was Opera National de Lorraine’s colorful production of Il Matrimonio Segreto (The Secret Wedding) by Dominico Cimarosa. Originally done at Opernhaus Zurich in 2014, the opera buffa (which premiered precisely 225 years to the night I attended, on February 7, 1792, in Vienna) is a soapy farce that bears comparison with Mozart’s Le Nozze di Figaro (The Marriage of Figaro), though is based on the English play The Clandestine Marriage. Director Cordula Dauper underlined the trope-like nature of the characters, presenting a cartoonish vision that was neither historic nor contemporary, but cleverly played up some of the work’s relational underpinnings while adding hints of commedia della’arte and soap-opera farce within a dollhouse framework. Particularly notable were the scenes between the secretly-married Carolina (soprano Lilian Farhani) and the determined Count Robinson (bass Riccardo Novaro), who, though ostensibly caught in a battle of Pepe-le-Pew-style interest/disinterest, was presented as a kind of sexual (and I’d argue, emotional) awakening for each character; this added dimension made their scenes, with one another and with Carolina’s respective paramour Paulino (tenor Anicio Zorzi Giustiniani) and father Geronimo (baritone Donato di Stefano) all the more rich and intriguing. Conductor Sascha Goetzel led the Orchestre symphonique et lyrique de Nancy orchestra in a zesty reading of Cimarosa’s deceptively complex score, underlining the poetry amidst the jollity, and thoughtfully (if purposefully) leaning into its small, lovely corners.

Matrimonio bows. (Photo: mine; link; please do not reproduce without permission)

Last but certainly not least, Opera Royal de Wallonie’s beautiful presentation of Berlioz’ La damnation de Faust was deeply memorable on both musical and theatrical levels. Director Ruggero Raimondi framed the work around the human costs of the First World War, contrasting, in the profoundly affecting Hungarian March scene, country people (singing of “Landerida” and the simple joys of life), military elites, and arguably, a dour authoritarianism hanging over the whole scene. Using a sparkly scrim spread across the stage for video projections, images of devastation (snaking lines of trucks and ragged marching troops; a disembodied hand, with fingers reaching up like broken roots; the face of a dead soldier peering, ghost-like, through layers of mud) offered an uncomfortable contrast to the triumphal sonic nature of the march (to say nothing of its overall historical associations), deflating the piece’s machismo but deftly avoiding any blatant didacticism. Rather than being heavy-handed, the contextual framework added an intriguing (and quite timely) depth to an abstract work, which is known largely through its in-concert presentations. Le damnation de Faust engaged both head and heart, exploring the effects of war, the role of spirituality, and the transformative nature of real love. It also featured some truly gorgeous singing from its talented leads: baritone Laurent Kubla (Brander), mezzo soprano Nino Surguladze (Marguerite), bass baritone Ildebrando D’Arcangelo (Mephistopheles), and tenor Paul Groves (Faust; interview is coming soon). If you love French opera, the Faust myth, or are just plain curious, Culturebox has a link of the full performance it broadcast live online on January 31st. Even without English subtitles, it’s worth watching, and re-watching; this is some of the most beautiful music ever written, to my ears. Sighs of bliss guaranteed.

Faust bows (Photo: mine; please do not reproduce without permission)

Next on the opera-going schedule: New York City, specifically four operas at The Met this weekend. I’ll also be presenting plenty of question/answer exchanges as well as audio interviews with various artists in the coming weeks.

Stay tuned, friends!

Darling George

By Catherine Kustanczy

On December 27, 2016

In music, Non-Classical Writing, opera, personal, popular culture, remembrance, voice, writing

I have known and loved the music of George Michael for almost as long as I have known and loved opera. The sound of that creamy tenor has been as omnipresent in my life as the sounds of Verdi, Puccini, Donizetti. It was strange, and strangely satisfying, to see the idol of my youth aging and growing as an artist, cultivating his talents while expanding his range, repertoire, and sound with quiet determination.

The grimness of 2016 intensified with news of his passing on Christmas Day. I learned the news as I imagine many others did, on Facebook, noticing the update, “RIP to the best pop star of my life” from music writer Maura Johnston. I didn’t need to click on the link she’d posted to realize, with an awful sinking feeling, who she was referring to. Maura and I share a deep, abiding love of George and his music; we had traded tweets and notes about it over the years, and I had even contributed a piece to her magazine about that passion, which became part of a multi-issue, George-Michael-focused release. Maura has penned a perfect tribute for TIME and another, more personal piece for The Guardian; the latter is filled with smile-worthy memories and brilliant observations, this one striking so many recognizable chords:

While I was initially drawn in by Ridgeley’s cheekbones, I stuck around through Wham!’s breakup, and Michael’s eventual solo career, because the songs were thrilling, spinning like tops perched on a ledge, ready to fly off in another direction at any moment. Michael displayed reverence for all the right things – compositional craft, searing vocals, kindness, writing pop songs to make the world feel, briefly, like everything was OK – while also feeling ambivalent toward the aspects of his job that distracted from them.

I can’t be sure, but I suspect I am the only classical writer who contributed both to that all-George issue of Maura, and to Torontoist, in the form of a live concert review — which strikes me as funny and quite delightful, especially since one of George’s most memorable concerts in the last decade happened at the Palais Garnier. Indeed, George (it feels strange for me to call him anything else, though I never got the opportunity to meet him) was the first contemporary artist to play the historic opera house, and, all things considered, he seemed eminently suited to it, not only because of his then-recent Symphonica release, but because his deep and continuous cultivation of musicality, music history, the ever-changing pop idiom, and his place as an older artist.

As a current opera writer with a pop-loving past, I tend to live in multiple sonic worlds that embrace rock, funk, R&B, hiphop and country right alongside classical. My current work and the way I’ve grown to listen and pay attention to performance and voice have opened the door for a broader appreciation of the musical gifts George Michael offered over his almost four decades of output. That magical tenor of his was far more agile, sensitive, and expressive than has been sometimes been acknowledged; over the years I’ve heard it called “flat,” “bland,” “too smooth” and “devoid of emotion.” Such criticism always struck me as facile at best, and snobbish at worst; they pointed to a kind of passive-aggressive whisper of, “that music isn’t real music” and “he isn’t a real musician.” As a teen, I’d hurriedly point out he played all the instruments on Faith and even did the backing vocals; it wasn’t vanity, I said, it was talent, an intentional exercise in creative control. What is “real” music anyway?! There are any number of overwhelming examples to point to that might explode such a ridiculous accusation, but more potent than all of them was the live experience.

My first big stadium concert experience was attending the gargantuan Faith tour in the late 1980s. Outside of hearing my favorite singer with tens of thousands of other cheering fans (I recall it being overwhelming at times), hearing that voice, live, was —and there’s no other way to say it — life-changing. Even amidst tends of thousands of screaming teens, with amplification and effects, that voice was incredible; it swung, it swooped, it mewled, it roared. Having seen Pavarotti and Domingo live at the Met as a teenager, I knew the effect a beautiful voice could have — on me, and on others. I didn’t understand technique back then, and I didn’t fully appreciate what I was hearing, but listening back to both his live and album material now, as an adult, I am, more than ever, struck by the myriad of ways George could shape and bend his sound, to say nothing of the length and power of his vibrato to make a sound that glistened, floated, soared, or roared, cut, slashed; George did it all, with class, style, and elegance. He wasn’t a screamer, and he didn’t feel the need to be. In an era where “soft” was equated with weakness, and “sensuous” with vulgarity, he became the object of ridicule. Throughout my high school years, when being out wasn’t even an option, he was laughed at, his music met with eyerolls; George wasn’t “macho” enough for many of my fellow students to like (or at least admit they liked) —but it was always the lack of screaming, the lack of roughness or aggression that I liked.

The fact he was also blessed with good looks, great style, and a clear need to move to a beat helped. When acts like New Kids on the Block and Milli Vanilli cropped up, I curled my nose. How were they more acceptable (or even better) than George? Aside from their music holding no appeal, respective choreography seemed forced and joyless; by comparison, George’s hip-shaking, arm-waving, and bum-wiggling seemed fun, sexy, and frankly, familiar. He seemed like he’d be so much fun to go out dancing with. Also, I couldn’t listen to either Kids or Vanilli for very long; those voices were, to my ears, not good. I’d been so spoiled. The way George had performed Black Cherry’s classic “Play That Funky Music” live, for instance (as part of the Faith tour), was saucy, playful, and very funky, with all of the original’s bounce intact, but a keen awareness of pace and rhythm. It was deeply musical and fun and smart and… you could dance to it! The combination was intoxicating, and remained so, through many decades.

However, the past few years deepened my appreciation of his vocal gifts. George had a warm, wheaty timbre he could expertly wield to accommodate any number of styles, including classic ballads, soul, funk, rock. His skill with balladry was on full display in the astonishing “One More Try” from Faith; he lived the words of that song, lovingly infusing each one with a profound, personal meaning that makes listening to it almost unbearably personal. The halting quality in his voice as he sings “stranger” and then “feet” in the second verse, then the sharp, biting contrast with singing “danger” and “heat” in the second couplet, reveals a world of heartbreak and thwarted hope that colored so much of his later work. It was one of George’s most famously soulful moments, and I feel, one of his most operatic.

Similarly, many will recall his soaring performance of Queen’s “Somebody To Love” in 1992. Who else could have realistically stepped into the shoes of the great, opera-leaning Freddie Mercury, and done such a bang-up job? He wasn’t Freddie — but he didn’t aim to be. “I work hard,” he declares at the start of the second verse, improvising a higher melodic line and threading it in with the main melody. Simultaneously buoyed by a monstrously wonderful backing choir and a regal authority, his was the performance everyone remembered from that tribute concert. (It was lovely to come across a video recently showing David Bowie smiling at that rehearsal.) Near the song’s end, George soars into a smooth if equally impassioned falsetto with the ease and grace Mercury excelled at, bringing a raw vulnerability to a raucous, jaunty rock and roll classic.

Years before this performance, he’d caused shock with “I Want Your Sex” but I suspect it wasn’t solely the title or song’s content that caused controversy. The way George sings it is just deeply, deliciously dirty. His is a throaty, pushed kind of growl, one cleverly combined with whispers, shouts, and whimpers. One of the supreme pleasures of re-listening to the entirety of Faith over the last few months has been how nicely the material, and this song in particular, translates into adulthood. We (us fans) all merrily sang along to “I Want Your Sex” as teens, screamed it back at its creator live, winked and giggled and may have done some theatrical pelvic thrusts on the dance floor on Club Med vacations, but hearing it as a woman, the reaction is (for me at least) less outward, and more quietly confident, a seduction delivered in slow smiles, eyebrow raises, lingering stares. The subtleties of the song — and they are myriad! — reveal themselves in George’s exquisite vocals, which are brilliantly contrasted by the repeated, organ grinder-esque synth lines and a squishy, pumping rhythm. The simplicity of the arrangement echoes that other perfect synth masterpiece, “Everything She Wants” but contains its direct opposite in experiences, while holding the same musical tension and intensity. Near the song’s close, as his own backing vocals provide a rhythmic, staccato-like declamation filled with a sort of hip-thrusting jubilance (“Hua, SEX!“), George’s knowing vocal punctuates the line:

I’m not your father
I’m not your brother
Talk to your sister
I am a lover

These lines are delivered as statements, full stops, declarations; the confidence of the vocal is breathtaking, to say nothing of the beautiful howl that erupts at the end of that, followed by a carefully-pitched, descending moan. Every time I hear it now I think of Camille Saint-Saëns’s famous “Mon coeur s’ouvre à ta voix” from the opera Samson et Dalila — each being, for me, a delicious, potion of desire, fever, seduction, even romance — a fervent paean to being alive, a shiny talisman against despair.

And this, in the end, is George Michael’s catalogue to me. I haven’t even mentioned the many beautiful collaborations he did with favorite artists — Aretha Franklin, Whitney Houston, Elton John, Stevie Wonder, and many others — or the sparkling cover versions he did of of songs new and old. His music (whether it’s specifically his, or music he has made especially his own) isn’t so much a tie to a rosy, cozy pat as it is a flowing river connecting that past with a harsher present, and ever-shifting future. He was magic, he was opera, he was a legend, but he was also defiantly, utterly himself — and in that act, he whispered, moaned, shouted, crooned, and pleaded, with that magical voice of his, for me to be myself. We never got to go dancing (something I’d dreamed of as a teen) and I never got to shake his hand (something I dreamed of as an adult) but he showed me how to listen for the beat, to create my own steps, to choose my own partners, and to walk off if things weren’t working. I owe him so much. We all do. George, you have been loved.

Playing Favorites

By Catherine Kustanczy

On December 18, 2016

In opera

(Michael Cooper / COC)

2016 has been a terrible year. Between the loss of great cultural figures, a dramatically changing political landscape around the globe, and wars that feel tragically endless, it’s been a tough year for many to navigate, accept, or even survive.

However, I keep being struck by the strange reality that it’s been, on a strictly personal level, a really great year — especially when compared to my 2015, a year that was filled with loss, trauma, and horrible disappointments. 2016 was a year of discovery, delight, wonder. Sometimes it was hard to gel the beauty on a micro level with the hideousness on a macro one, but, to quote William Congreve, “music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.” I saw a lot of great stuff this year; rocks were softened, oaks were bent, breasts were soothed — when not heaving in awe, a la Dangerous Liasons, that is.

Culturally, this was a good year in so many ways, but it was equally notable for being the first full music season I’ve experienced without my mother. I feel like she was with me throughout many, if not all of my travels, near and far, through good times and sad times and everything in between. I saw her make faces at some things, throw back her head and laugh at others, and clasp her hands in delight at yet more.

In the spirit of those hand-clasping moments, I present to you some of my favorite live music things from 2016. I confess I wasn’t actually planning to write about any of this; considering I write about and review music for a living, I want some of my own music-going to stay private and personal, free from analysis or too much thought, to live purely in a world of experience. I’ve found, however, that trying to turn off my critic’s brain is impossible. My mother would frequently admonish me, after a night of the opera and discussion, for “thinking too much.” I’m certainly guilty of this in more than the arena of music, but, I’ve learned over the last year to absorb more and analyze less, while still firmly embracing my thinky side; context matters, and insight is never a bad thing. I plan to continue cultivating my music love into 2017 and beyond, as you might guess.

Without further ado, here are my favorites from the year that was.

(Michael Cooper / COC)

1. Siegfried, Canadian Opera Company; January

Richard Wagner’s epic work, written between 1856 and 1871, is the third part in the composer’s sprawling four-work Ring Cycle. Remounted by the COC (from a 2006 production) as a kind of surrealist nightmare, director Francois Girard dramatized elements inherent within the complex score to eye-catching effect. With tenor Stefan Vinke as a hero free of macho qualities but still very much in the throes of petulant youth, his was a performance that moved between lost, amiable, and enlightened, with the vocal agility to match. Michael Levine’s vivid stage design featured, in its first act, a tangle of branches rising above the hero’s head, a kind of physicalized thought bubble; later, a fiery hole with undulating hands housed the angry dwarf Alberich (a stentorian Christopher Purves), while Fafner, the giant-turned dragon, was staged with a pyramid of men and some very great choreography (by Donna Feore) and clever, intuitive lighting (by David Finn).

These elements, together with a unique “tree” threaded with bodies in its stark branches, and white-clad figures bathed and swaying in red light, produced an incredible vision of hellfire, damnation, temptation, and salvation. Wagner’s musicality was seamlessly integrated with the Ring’s inherent theatricality, and, together with some inspired singing (Vinke’s duet with Christine Goerke’s spitfire Brunnhilde was truly magical), worked to produce a hauntingly beautiful vision of Wagner’s mythological world.

(Ken Howard / Metropolitan Opera)

2. Manon Lescaut, Metropolitan Opera; February

This production is included purely for the singing; I found Richard Eyre’s production silly and filled with what the New York Times rightly termed “troubling questions.” But Roberto Alagna, as des Grieux, and Kristin Opolais, in the title role, made music magic, the French tenor showing particular skill as he quickly substituted for an ill Jonas Kaufmann. Despite being ill with a cold himself on the day I attended, his was a thrilling, vivid performance, beautifully complemented by a luscious rendering of the score, thanks to Maestro Fabio Luisi. The women around me may’ve been sighing over Jonas’s absence, but to my ears, Alagna’s sonorous tenor was perfectly suited to Puccini’s rich-as-fudge score, and it was a treat to experience such an exquisite pairing, so beautifully executed.

Opolais, who’d already sung Manon opposite Kaufmann at the Royal Opera in 2014, brought an anguished drama to the role, and she and Alagna shared an electrifying chemistry, one that carried through (indeed, paraded over) Eyre’s bizarre staging. As New York Classical Review’s Eric C. Simpson noted, “When left alone, the principal actors were in fact able to carve stunningly real portrayals.” This was one of those special performances with such incredible lead performances, and conducted with such a charismatic mix of passion and majesty, I actually forgot the dire production — at least for a while. Impressive.

(Michael Cooper / COC)

3. Maometto II, Canadian Opera Company; April

Italian bass baritone Luca Pisaroni channelled silent film star Rudolph Valentino in a remount of a 2012 production from Santa Fe Opera. Director David Alden made effective used of the carefully wielded elements of dance and design (including a strong, expressionist-influenced color palette by designer Jon Morrell) to bring Rossini’s 1820 opera to vivid, stunning life. The title character’s dramatic entrance (which happens no less than fifty minutes into the opera) was impressively cinematic, and certainly a strong announcement of things to come in terms of Alden’s passionate approach to the material, to say nothing of the performers.

This was some of the finest singing I’ve ever heard at the Four Seasons Centre, bar none. Pisaroni’s full, rich bass baritone, his careful, loving attention to detail and controlled, luscious vibrato was matched by soprano Leah Crocetto’s Anna, who nimbly showcased a vivid coloratura as well as sweet timbre with a firm undertone that’s perfectly suited to the various shades of the character. Mezzo soprano Elizabeth DeShong, in the trouser role of Calbo was, in a word, shattering; the sustained applause at the end of her aria convincing Anna’s father of her innocence deserved every hearty “bravo” it received. David Laera’s sensuous choreography, especially the sinewy, swirling bellydancer who featured in the production’s second half, made for a gorgeous opera experience.

(Darryl Block)

4. A Little Too Cozy, Toronto; May

Against the Grain Theatre lived up to their name, going entirely… well, against the classical music grain in presenting Mozart’s Cosi fan tutte as a reality TV dating show, in an actual TV studio. The company, known for their unorthodox presentations of classical works, transformed the opera and its rather silly libretto into something relevant, smart, funny, and even moving. Was it Mozart? Was it opera? Yes and yes — and it was brilliant. Phone use and hashtags (#TeamDora, for instance) were actively encouraged throughout the performance. Seamless integration, between new and old, classical and contemporary, is AtG’s speciality, and they’re leading the way in reinterpreting opera for the 21st century in Canada.

It wasn’t only the premise that reeked of forward-thinking, risk-taking innovation; the actual performances were fun, knowing, and awfully familiar. Cairan Ryan’s smarmy game-show-host Donald L. Fonzo (Don Alfonso), did a charming buffo baritone, and was complemented by a very engaging, social-media-knowingness from the ensemble, comprised of tenor Aaron Shepppard (Fernando), baritone Clarence Frazer (Elmo), soprano Shantell Przbylo (Felicity), mezzo soprano Rihab Chaieb (Dora), and soprano Caitlin Wood (Despina). Smart, engaging, fun — A Little Too Cozy epitomized all the things indie opera is nudging grand opera toward, slowly if surely.

(my photo)

5. Filarmonica della Scala, Salzburg Festival; August

Riccardo Chailly led a masterful performance from the Filarmonica that only moved past the workmanlike and into the poetic in the event’s second half. Cherubini’s Overture in G Major and Symphony in D Major were, to my ears, strangely lacking in momentum and buoyancy; it was good, but not great, and certainly not what I expect from Chailly, whose work I’ve enjoyed (and seen) for many years. But, with Verdi’s divertissement of “Les Quatre Saisons” (the Four Seasons) ballet music from Les Vepres siciliennes (the pre-1861 version, later Italianized), the orchestra came alive, delivering a poetic performance that caught the small, quiet corners of the piece, and shone a gentle light that gradually became a shining beacon. The choice of placing the overture to Rossini’s Guillaume Tell at the program’s end was inspired too, with the famous piece providing a bouncy, boisterous close, if not conclusion, to the evening; the encore was an utterly thrilling performance of the overture to I Vespri Siciliani. I confess to sitting on the edge of my seat throughout its entirety.

Chailly is a fascinating figure to watch, his statesmanlike demeanor barely concealing a blazing fire, one he beams into orchestra members who spit it back in short controlled bursts or long, lean lines. I’d love to hear the Filarmonica play an evening of overtures; not only do they tell stories with their singing instruments, they conjure deep emotional states that move past the verbal and into the realm of the transcendent, rather like another orchestra…

(my photo)

7. Berlin Philharmonic, Toronto; November

… yes, this one. The famed Berlin Phil embarked on a tour through North America this past autumn, showcasing the work of Mahler, Schoenberg, Webern, Boulez, Berg, and Brahms. Sir Simon Rattle was particularly interested in drawing sonic connections between them all, and he did a marvellous job of that, and much more, on the night I attended, with a program featuring Boulez’ Éclat and Mahler’s Symphony No.7. With just fifteen players, Boulez’ sparse if powerful work showcased the various reverberations of the instruments being used (especially piano) and the complex, nuanced harmonies therein. Intricate attention was paid to color and shape, with Rattle coaxing a quietly intoxicating drama that revealed its composer to be the logical inheritor of Mahler’s sonic explorations.

Like the Boulez, Mahler’s 7th makes use of the guitar and mandolin, though with very different effect. This was bold, passionate playing from musicians clearly happy to be there and clearly in love with the work and their conductor, who managed to seamlessly connect the six movements of Mahler’s notoriously lengthy work into one perfect, poetic thought. Seriously, you had to be there. Vunderbar.

(my photo)

6. Stefano Bollani, at Koerner Hall / with the TSO and Gianandrea Noseda; November

The Italian jazz pianist moved easily and confidently between the worlds of classical and jazz during his visit to the city last month, interspersing appearances playing Ravel’s famed Piano Concerto in G with an evening of jazz (original compositions and more) at Koerner Hall. Musicality positively oozes from this man; his improvised introduction to the Ravel with the Toronto Symphony Orchestra (clearly unnerving to much of the Toronto audience) was full of characteristic playfulness and verve, while his loose interpretation of the Ravel brought all the whimsy and joy and pure musical curiosity that can sometimes go missing (or not be fully committed to) with more formal classical music performers. His connection with Noseda was also unmistakable, and it was fun to watch the two silently communicating, an invisible if entirely recognizable current of energy running between them. In addition to the playful Ravel, Bollani also performed a beautiful, improvised solo version of Leonard Cohen’s “Hallelujah” as an encore.

Experiencing Bollani do jazz one night and classical the next, I sensed a beautiful kind of sonic continuum and again, an unmistakable joy in simply making beautiful sounds. Amen and bravo, Stefano! Torna presto!

(my photo)

8. Macbeth, Los Angeles Opera; October

Many people have suggested at some point or another that Placido Domingo might want to consider retiring. Yet when all the elements are in place (as with Nabucco, currently on at the Met), there’s just something undeniably powerful about the tenor-turned-baritone; when he turns it on… the hairs on the back of your neck stand up. I went to Macbeth not expecting to be moved; I went for more sentimental reasons, to see a living legend who I had not seen live since 1993, at the Met in Verdi’s Stiffelio. The times I’d heard him as a baritone (so-called “baritenor”) I’d not been terribly impressed… and yet I found myself won over. Despite the layers of makeup and wigging, Domingo used his age and experience to fuel his characterization, and though the voice is grainy, it is still powerful, resonant, and undeniably exciting. His Scottish king wasn’t a sullen brat at all, but a capable, smart army man who resented been passed over one too many times. His scenes, particularly with a wonderfully fiery Ekaterina Semenchuk as Lady Macbeth, were filled with rage, regret, and finally even, remorse. This was very special, and very worth the trip to LA Opera. I’ll be back.

(Dahlia Katz)

9. Naomi’s Road, Toronto; November

Tapestry Opera presented a timely vision of Joyce Kogawa’s novel about her experiences growing up in an internment camp during the Second World War. Originally conceived and directed by Ann Hodges, with sets and costumes designed by Christine Reimer and built by Vancouver Opera, Tapestry Artistic Director Michael Mori’s Toronto presentation presented a simple, powerful show (without intermission) in a local neighborhood location loaded with historical meaning; St. David’s Anglican Church is the home of the last Japanese-Canadian Anglican parish in Toronto. The fact there was (and is) talk of internment camps in the news lately made this work all the more poignant, of course, but also brought with it an urgency that added to its quiet theatricality.

The production poetically integrated design, theme, and musicality that spoke softly if powerfully. With just one pianist and four exquisitely talented singers, including mezzo soprano Erica Iris, who made an incredible transformation from imperious older woman to girlish bully, a switch which was both vocally and theatrically thrilling. Entire worlds were created and explored with grace, economical elegance, and deep sensitivity. This was easily the most humble production I saw this year; it was also one of the most memorable and important.

(Ken Howard / Metropolitan Opera)

10. L’Italiana in Algeri, Metropolitan Opera; October

Straight up, this was the most fun thing I saw this year; it had laugh-out-loud moments and a boisterous, bright Met Orchestra led by Maestro James Levine. Rossini’s comic opera revolves a kind of comic, sitcom-like face-off that masquerades about being between East and West, but is really about men and women. Jean-Pierre Ponnelle’s 1973 production is full of the kind of cliches that make you both laugh at their preposterousness and wince at their overuse. As New York Times classical writer Corinna da Fonseca-Wollheim noted, “this battle of the sexes, framed by Rossini and his librettist as an abduction drama, may be the silliest and most stereotype-laden production in the Met’s repertory. But it’s still very funny — irresistibly so, as I found out.”

I’m on the fence about whether or not some of those tacky old costumes need to go; there’s a line between funny and tasteless, and I’m not sure that those those very deliberately fake-looking, hairy-Muslim-dude ones are entirely worth keeping. Sure, we can laugh because they’re preposterous and tasteless, but… they’re still preposterous and tasteless. They do, however, fit with the overall feel of the work itself, which is exaggerated, ridiculous, and extremely smart about presenting its true conflict as crazy comedy gold. Mezzo soprano Marianna Pizzolatti (a last-minute replacement for the ailing Elizabeth DeShong) was sprightly, funny, feisty, and highly watchable as the “Italiani” of the title, Isabella, and was beautifully complimented by a buoyant Met Orchestra under the baton of Maestro James Levine. To quote George Grella’s New York Classical Review piece, they handled Rossini’s bouncy score with a “crisp phrasing and a glinting sound.” For all my reservations over some costume designs, I still came away from this one smiling.

11. Faust, Salzburg Festival; August

Gounod’s famous 1859 opera got a modern treatment at the festival, with the immensity of the Grosses Festspielhaus being used in some marvellously creative ways by director/designer Reinhard von der Thannen. A meditation on nothingness – even the opening scene featured a neon “Rien” sign — this was an existentially-themed vision with cleverly integrated elements of commedia dell’arte and surrealism. It also featured entirely zesty onstage chemistry between tenor Piotr Bezcala (Faust) and bass baritone Ildar Abdrazakov (Mephistopheles), both in very fine voice; Beczala’s silvery-toned tenor and Abdrazakov’s cherry-chocolate bass not only made beautiful music together, but nicely channelled the drama within both Gounod’s score and von der Thannen’s vision, bringing the high-minded ideas behind the production to a recognizably human level. Still, the production itself was truly special. As philosophy professor Mirjam Schaub wisely notes in the excellent program essay,

Standing in opposition to the RIEN, of course, is a very substantial SOMETHING: the stage space. It is entirely white, impersonal, functional, open for light of all colours and at the time itself a non-colour.. […] That the stage space of Grosses Festspielhaus is somewhat CinemaScope-like in format is a factor very congenial to von der Thannen’s commanding and spatially expansive vein of fantasy.

No kidding. I’d love to see it at the Met; I suspect it would effectively carry to anywhere in the house. The bright design scheme, creative use of white space, glittering costumes, Giorgio Madia’s sinuous, kinetic choreography, combined with stellar singing and some very neat makeup effects made for a truly eye-opening and riveting Faust. Salzburg, traditional? Nein…

12. Don Giovanni, Salzburg Festival; August

… which segues nicely to my final selection. Don Giovanni is one of my favorite operas, but I’d never seen a production that vaguely satisfied me. Despite the exquisite score and fascinating characters, I always tended to walk out of any and every production feeling angry, frustrated, and utterly repulsed by the title character.

Then I saw Sven-Eric Bechtolf’s production at the Salzburg Festival; it was wickedly smart, truly moving, and funny. Imagine, a Don Giovanni that takes the comedy seriously — not as a pastiche or a collection of tacky, crude jokes, but rather, trusts the talents of its performers so deeply that it allows them to find their own comical moments, for themselves and with cast mates. This production was, quite simply, one of the most magical things I’ve ever experienced in an opera house.

Luca Pisaroni’s Leporello, for instance, was equal parts Jerry Lewis and Roberto Benigni, eminently comical and yet somehow relateably human. His was both an hilarious and touching portrait of a perennial wingman who fully realizes that, while he’d love to take the pilot’s seat, he is, at heart, not cut out for it. His interpretation of “Madamina, il catalogo è questo “ (the so-called “catalogue aria”) was the very best I have ever heard, filled with smart pauses, crisp diction, and a lively vibrato. Alain Coulombe brought cool authority and a quiet confidence to his portrayal of the Commendatore, a man clearly 180 degrees away from Giovanni, in both real and theoretical senses; he was order to the Don’s chaos, a minor key to his major; a firm, brief handshake instead of a warm, lengthy hug.

Physicality was, in fact, a very big part of this production, and Layla Claire threw herself into this aspect with bravado, giving the very best interpretation of Donna Elvira I’ve ever seen — wounded, but not at all simpering, and every bit as passionate and complex as Carmelo Remigio’s sexy Donna Anna and Valentina Nafornita’s feisty Zerlina, not to mention any number of maids in Bechtolf’s hotel-lobby-set production. All were agents of their own fate, each seeking a liberty (mental, emotional, particularly sexual) for themselves through the figure of this man they all want to possess, or be possessed by. It was hugely refreshing (and liberating) to finally see a Giovanni in which the women have agency, and to see not only them, but the main character freed from the their tidy, boring, cliche-ridden boxes of yore.

That theatrical approach, of course, made the title character fascinating and endearing in place of being smarmy and nauseating. It was so good to see a production — and a central performance — so firmly committed to breaking cliches while milking and gleefully mocking them at the same time. Ildebrando D’Arcangelo was, by turns, funny, sexy, hateful, annoyed, prideful, world-weary — in other words, warmly, defiantly human, which is impressive on its own, but doubly so for someone who’s performed the role numerous other times in numerous other productions, but here was very much playing an idea (“Viva la liberta!“), as Bechtolf’s smart program essay indicated. A key part of this characterization was, of course, vocal prowess: D’Arcangelo’s is a wonderfully agile voice with watchful subtlety in its upper tones, an unforced richness in low ones, a beautifully mellifluous vibrato with a mahogany-hewed timbre, and a nuanced approach to some well-known material (his “Vieni alla finestra” was easily the most perfect I’ve ever heard), and… well, to return to Congreve, oak bends, rocks soften. You figure out the rest.

That’s the year that was. Just to make the circle complete, Sven-Eric Bechtolf is set to direct Stefan Vinke in Siegfried at the Vienna State Opera in May. Am I going? You’ll have to wait and see. That Oscar Wilde quote about temptation, so relevant to Bechtolf’s Don Giovanni, could very become relevant to my life in 2017. We shall see; I am keeping an open mind, and looking forward to more adventures.

Opera: Relevant.

By Catherine Kustanczy

On July 13, 2016

In opera

I am an arts journalist and a longtime opera fan. I make it a personal mission to both examine the elements of opera production and clarify it for those who are not familiar with its finer points. Basically, you don’t have to know what coloratura or cabaletta is to have a great experience — and you shouldn’t have to. The widespread popularity of what I’d term “popera” is something I have mixed feelings about; on one hand, it introduces an artform to a wide audience in a fun, audience-friendly way that they recognize and appreciate, but, on the other, it waters down the art form in a way I don’t think is always necessarily helpful.

As I wrote on Twitter, I don’t consider what The Tenors do real opera. I realize this is snobbish and perhaps even offensive to some. I make no apologies. It’s singing loudly and with all the flash that might be perceived as opera, but. Generally, that’s okay; if it makes people more curious about the art form, and leads them to the opera house, or to iTunes to check out the work of various composers, great. Sometimes that curiosity bleeds into something else; sometimes it doesn’t, and that’s okay. If popera inspires the desire to learn more, provides some enjoyment, makes for a pleasant way for some to pass the time: great. I want to be a kind of human Pandora that says, “well, if you liked that, you’re going to love this…”

That very thing happened this past spring, when I brought friends to the Canadian Opera Company production of Carmen. With no more exposure to opera than a handful of clips of child stars and reality TV bits and bobs, the friends — of all ages — sat rapt for over two hours (with intermission). They loved the pageantry of the sets, the splendor of the staging, the lively conducting, and were bowled over, in particular, by the power of the voices. They were awestruck that no one was miced. They wanted to know more, and hear more.

So yes, sometimes popera leads to other things, and it’s nice when that happens. Introducing newcomers to opera busts up fusty old perceptions while kicking open the door to a powerful new artistic experience. If that powerful experience doesn’t happen, that’s fine too, but problems arise when a group like The Tenors make ignorant political statements. The perception of opera being an elitist, privileged, out-of-touch artform made by and for primarily white audiences is reinforced in the ugliest way imaginable. Forget Tamar Iveri and her horrific homophobic slurs; The Tenors have a much broader appeal, and, as a result, a huge audience. Their presence at the All-Star game was a symbol of their mainstream appeal; their horrifying political statement (which I am not going to write here, because it, and the mindset behind it, are offensive) sent out a message that reinforces an ugly, unfair stereotype.

Opera companies are working hard at wider representation — at both administrative and creative levels — and some are succeeding more than others. A mariachi opera was met with much success not long ago; a staging of Brokeback Mountain in Madrid was, equally, met with acclaim. Great black singers populate and have hugely shaped the history of opera — Arroyo, Price, Norman, Anderson: these are names we should all know, not just opera fans. Contemporary black opera singers have been vocal about struggles and it’s been good to see companies like The Met and the Canadian Opera Company hire more diverse casts. I want to see more of this, and am equally keen to see related programming expansions; it’s good for audiences, and frankly, it’s what the art demands. Fewer forms are more suited to examine issues of race, exclusion, class, and privilege than opera, which fuses music, theatre, and visual design to make powerful, searing statements that have contemporary relevance. The titular character in Mozart’s Don Giovanni is a member of the aristocracy who uses his male privilege in every way imaginable; equally vital issues of class and privilege are thoughtfully examined in Mozart’s The Marriage of Figaro as well as Verdi’s Rigoletto; Rossini’s Maometto II and Verdi’s Aida explore notions of interracial relationships, power, and prejudice. I would argue that even Carmen, perhaps the best-known opera to mainstream audiences, explores all of these things. The strong title character is constantly slurred (as well as sexually exoticized) for being a gypsy, a fact to which the obsessive Don Jose is both drawn and repelled.

So while the three members of The Tenors may claim, “it’s not us, it’s him!” I would respond, it’s not opera, it’s you. All of you. You have reinforced a notion of a deeply relevant, deeply beautiful art form that is hurtful, ignorant, and toxic. Please, just try to be good — a good singer, a good student, and most importantly, a good person: one who doesn’t blame, doesn’t shame, takes responsibility and educates themselves. It’s the least you can do for opera — and the utterly, absolute least you do for Black Lives Matter.

Only the Essentials

By Catherine Kustanczy

On May 27, 2016

In Canada, classical, interviews, opera

Photo via Tapestry Opera

What does “keeping the essence” of something really mean?

I recently attended a preview of Tapestry Opera‘s latest offering, an adaptation of DH Lawrence’s short story The Rocking Horse Winner, which opens in Toronto tomorrow night (May 28th). The tale, published in 1926, revolves around a boy who accurately predicts racehorse winners based on what he believes are tips from his rocking horse, in order to satisfy get the money to satisfy his upward-mobility-seeking mother. The company’s adaptation integrates contemporary elements with Lawrence’s original story, notably in its making Paul, the main character, autistic, and having the house he and Hester (his mother) share as being a real, actual character within Anna Chatterton‘s libretto and Gareth Williams‘ score.

During last week’s preview, Tapestry’s Artistic Director Michael Mori was asked, at one point, why such radical changes were necessary. Why alter something so dramatically from the original? What’s the point? Being curious about the art of adaptation, and passionate about opera as an art form, I thought it was worth asking both Michael and Anna for their thoughts — about the show, the adaptation, inspiration, and why and how change is a part of any adaptive process, especially for opera in the 21st century.

Why this particular story? Why did you think it would make a good opera?

Anna Chatterton (AC): D.H. Lawrence writes complex characters with a strong story structure. Composer Gareth Williams proposed the story to me, he particularly loved that the house whispers to Paul (the protagonist of the story) that was a clear singing opportunity. We could both see that the story could be distilled down and yet also expanded to tell a moving tale about greed, entitlement, and a complicated relationship between a mother and son.

Michael Mori (MM): He is one of the authors whose stories have stuck in my head ever since I was a child. And this story has great love, great loss, supernatural elements, and a house and horse that whisper and talk… so the space for music to animate the story is wonderful! Also, it is refreshing to have a break from romance and betrayal while still engaging in a subject with high dramatic stakes.

Carla Huhtanen and Asitha Tennekoon. Photo by Dehlia Katz / Tapestry Opera

At the preview last week, one particular patron was upset at the changes you discussed around the adaptation. First: why make the title character autistic? Secondly, can you elaborate on what you mean about keeping the “essence” of the piece intact (the word you used last week)?

AC: As it happens, that patron apologized to me afterwards, recognizing that we aren’t calling this opera “a dramatization of The Rocking Horse Winner” but “based” on The Rocking Horse Winner. (But) there’s a disconnect between everyone in the original story; so much is unsaid. We wanted to examine what was making the characters detach from one another — what barriers could be stopping them from understanding one another? From hugging one another? We’ve tried to keep this aspect of our adaptation present, yet also unsaid and under-the-surface. We wanted to explain yet still hang on to the otherliness of the boy at the heart of the story. There is a moodiness about the story, almost a nightmarish quality, which we followed; I would say in many ways the music is keeping the essence of the story intact. About a third of the original text is in the libretto.

MM: There are people who love period pieces being done in period costumes and re-constructed Victorian theatres – for example, Shakespeare at the Globe or La Traviata directed, designed, costumed, and set exactly as the score details. I am of the school of thinking that capturing the essence of the work involves interpreting it for a contemporary world. What Verdi, Shakespeare or D.H. Lawrence meant when they were speaking to the public of their generation and location would not be received the same today if performed or read exactly as it was. The essence of Rocking Horse Winner involves a plot structure, a specific dynamic between a mother and a misunderstood son, a class commentary in a period of time when entitlement is being challenged, and a loaded question of what is “luck” (which I take to mean, what is love)— all things explicitly included in the opera adaptation. Making Paul a young man on the autistic spectrum allows us to invoke a similar dynamic. Where the parenting role of an upper class mother in the early 20th century was being redefined in the time of the short story, the opera examines the role of an upper class single mother dealing with a developmentally challenged child, a situation and dynamic that, in 2016, we are continuing to learn how to better deal with.

Why have the house “talk” and not the horse?

AC: Because the house whispers to Paul in the original story, but the horse doesn’t. It didn’t even occur to us to have the horse talk…

MM: The house is the pressure, the question, the demand, the coaxing, and, therefore, the Mephistopheles to this family; a far more dynamic character and a more interesting expansion considering the potential of music.

Anna, how did having a child change or influence your approach to this work in particular?

AC: Having a child and becoming a mother instantly made me very aware of the complexities that are born at the same time as your child. It made me really understand and feel more empathetic about the mother character in D.H. Lawrence’s story. You can feel many emotions about being mother, and about your child. Even though I desperately love my daughter more than anything, I can feel differently towards her moment to moment. I can feel so proud of her and then for a few moments can secretly judge her and compare her to other children, then in the next moment go back to thinking she is the greatest child in the whole world and feel terrible about thinking anything negative about her. I can watch her and think “this is heaven” and then get so frustrated when she is acting up and think “this is hell.” What I love about the character that D.H. Lawrence wrote was that it was a brutally honest portrayal of motherhood. She is flawed, she exists, she tries to make up for her flaws, but badly.

Michael, your M’dea Undone last year was staged outside at the Brickworks, while Rocking Horse Winner is in a more traditional theatre setting. How do these locales influence and alter your decisions as a director?

MM: I would say rather that our shows influence our locales… When we see a place with the most potential for the work, we go forward. M’dea Undone has a truly expansive feel and, when we considered the scope of it, we fell in love with the idea of setting it in the Brickworks and accessing that urban, raw, and shabby-grand feeling that it invoked, so in keeping with John and Marjorie’s M’dea. Rocking Horse Winner is an intimate story, set mostly in a house… and the Berkeley Street Theatre became a wonderful place for us to bring a house to life, while inviting the audience inside.

What sorts of things within the score do you think are important to emphasize directorially?

MM: There are motifs that recur: the race, the mother, Paul… all appearing and reappearing in different ways. Since my direction is always driven by the music, I would rather say that clarity of drama in areas where the music is loud and raucous (where the words may be hard to understand) is one of the things that I strive for.

Why are works like these important for opera ecology in Canada?

MM: A simple answer would be that new works are important for the same reason that reproduction is important to any living ecology. Without reproduction, survival is endangered. If we allow the perception that opera is a museum form with an ossified and static repertoire, then growth and inspiration within the genre and its performance practice will be stymied. As we return to accepting new works (in new ways) into our understanding of opera, we not only engage new artists and audiences in a form that is more relevant to them, but we also are training a new generation of masters. Just think about Mozart or Verdi’s first two operas – they had to have had opportunities to grow towards their masterworks. This show in particular will be a valuable piece, as it proves that a beautiful musical aesthetic in opera doesn’t mean a derivative or overly programmatic composition.