L.A. Opera’s “Otello” - - - The Lion Doesn’t Roar
In the program notes to the new L.A. Opera production of Giuseppe Verdi’s “Otello,” the company’s Music Director, James Conlon, who also presided on the podium at the March 2nd matinee performance I attended, wrote: “Despite all the possible dramatic misadventures or vocal inadequacies, this work cannot fail because it is so perfectly conceived, so masterfully executed that not a single note is superfluous or less than inspired.” Not so, Maestro. True it is that Verdi and his brilliant librettist, Arrigo Boito crafted an operatic masterpiece that, in many respects, even surpasses the Shakespeare tragedy on which it is based but “dramatic misadventures and vocal inadequacies” can indeed give us an “Otello” in which the “Lion of Venice” does not roar. Alas, such is the case in the current production on display at the Music Center.
At its best, opera is the greatest of the performing arts precisely because it brings together all the elements which define Music Theater and, when the combination is right, provide us with enriching and ennobling experiences. Music (orchestral and vocal), drama, stage direction, scenic, costume and lighting design, dance (where applicable) - all of these must be taken into account and evaluated when assessing any given performance. There are few, if any, operas which can survive on the score alone, no matter how inspired – not even Verdi’s inspired rendering of Shakespeare tragic Moor. And so, with all due respect and admiration for Maestro Conlon, let’s proceed to the “Otello” in question.
First, the set design. Johan Engels presents us with three large boxes from which all the characters emerge and depart or, in some cases, lurk. The other physical elements are minimal at best or simply not there. There was nothing to indicate that we were at dockside in Act I except some poles (to indicate the masts of ships), a few ropes and one of the boxes placed stage center to simulate the deck of Othello’s ship. The interior settings of Acts II and III for what should be the title character’s palace were bland and totally devoid of grandeur. Finally, the Act IV bedroom in which the innocent Desdemona is murdered by her unhinged husband is totally decorated in red - walls, bed and all. This is obviously a reminder to the audience that a fatal crime is to be committed. Hardly subtle. As to Engels’ costume design, it is drab as well except for the luckless lady. As long as Othello is not convinced of her adultery, she is clad in virginal white; when he succumbs to the villainous Iago’s intrigues, she appears in vivid red, the time-honored color associated with an adulteress. Please – give us a break!
All of the aforementioned must be laid at the doorstep of the director, John Cox. Perhaps, after nearly 50 years of dealing with hundreds of productions, he has simply grown weary of coming up with yet another new, fresh and stimulating concept. If the director has the final say on what sets and costumes are to be used in order to carry out his take on the story then surely he must take on the final responsibility for this dull presentation. Insofar as the specifics of the drama are concerned, the only attempts at something novel were two mystifying misfires. At the very end of this tragic and compelling story of love gone awry, Shakespeare has Iago give no reason for his treachery before he is led away by an armed guard for certain torture and execution. Verdi and his librettist, Arrigo Boito, chose to have Iago attempt to escape but to be pursued for certain capture. Mr. Cox, who for all we know, has bigger and better things in mind for this consummate villain, lets him slink away unnoticed through an entranceway into one of those boxes. Finally, when it is time for the hapless Moor to pull a concealed dagger from his robes and fatally stab himself and then bid his Desdemona farewell with a heartbreaking request for one last kiss from her lifeless body, Mr. Cox’s Othello slashes his throat and, with no visible blood showing nor any apparent impairment to his larynx, begs for the impossible boon. Why oh why do directors and their designers either consistently underrate an audience or insist on spoon feeding them the obvious?
And now, the music. As always (and for this we Los Angeles opera goers should take great and justifiable pride), the orchestra and chorus were wonderful. James Conlon and Grant Gershon have taken two ensembles whose work was already becoming first rate under their predecessors and, in record time, brought them to a standard of excellence where no work exceeds their capabilities. Bravo to all. Most regrettably, the same cannot be said for two of the three principal singers. English tenor Ian Storey was simply in over his head in a role that demands the strength of a heldentenor and the warmth and passion of a singer trained in or, at least, familiar with the Italian bel canto tradition. The sad truth, I suppose, is that without Placido Domingo or Jon Vickers in the title role we simply cannot be moved as Verdi intended. Mr. Storey hit all the notes, to be sure, and tried his very best to wow us with some admittedly impressive dynamics but his ample tenor was forced and pinched from his opening triumphant “Esultate” which most surely did not shake the rafters, to the anger-ridden “Si, pel ciel” duet with Iago which closes Act II, to the intensely introspective “Dio! Mi potevi scagliar” in which he rejects Desdemona’s protestation of innocence and, finally, to the heart rending “Nium me tema” which climaxes in his dying plea for that last kiss. That said, it is equally obvious that Mr. Storey will deservedly have great success in the German repertory as his recent La Scala “Tristan” attests. Cilean soprano Cristina Gallardo-Domas was a disappointing and, for much of the performance, a dramatically underwhelming Desdemona. Whether it was the size of the house, the acoustics, the lingering effects of a throat problem which prevented her from performing on opening night or just her instrument, the voice was simply not lush enough was often shrill for the first three acts. Happily, however, she seemed to come into her own in the final act and gave us a compelling “Willow Song” and “Ave Maria.” Ms. Gallardo-Domas has most impressive credentials and should surely be invited to return perhaps in a lighter role. The one consistently bright spot was the Iago of baritone Mark Delevan. In this age of all too few “Verdi” baritones, a bright future awaits him. Possessed of a ringing, dark tone which has plenty of ping at the top and ample breadth of range, Mr. Delevan gave us an Iago we loved to hate. Sly and insinuating, oozing feigned consolation and understanding and pretending to be the friend of all the characters he actually loathed, he gave us a fully satisfying and convincing performance. The supporting cast was uniformly good with special kudos to the stentorian Lodovico of veteran bass Eric Halverson.
Perhaps, as Maestro Conlon infers, any “Otello” is better than no “Otello” but Los Angeles deserves better and hopefully we’ll get it next time.
Wednesday, March 12, 2008
Thursday, February 7, 2008
A Day at the Opera with Earl Schub
LA Opera’s “Tristan und Isolde” . . . a Test and a Treat
Richard Wagner’s “Tristan und Isolde” is a test for any opera company and, not the least, because of its nearly 5 hour’s length, a test for an audience. When it’s done right, it is a treat for both. Such was the case at the February 3rd matinee performance produced by the Los Angeles Opera at the Dorothy Chandler Pavilion.
We are drawn into the drama by the absolutely stunning set design by David Hockney. This internationally acclaimed artist has transformed what is normally a series of gloomy settings to match the dark, death-obsessed relationship between the two title characters into a series of brilliant yet lush vistas which dramatically convey a mutually felt passion, both expressed and implied in Wagner’s overwhelming melodies and sonorities. Though Tristan and his Isolde are doomed from the start, the settings serve to remind us that they truly believe that love will transcend their conflicted lives and bring eternal bliss. The orchestra, under the sensitive and insightful direction of James Conlon was more than up to the challenges of this landmark opera which emancipated dissonance and threw wide the gates of chromaticism. From the opening Prelude to Isolde’s heart-rending “Mild und leise.” which ends the opera, the Los Angeles Opera orchestra again demonstrated why it has come of age. However, while Wagner, perhaps more than any other composer before or since, firmly believed in the equality of all the forces needed to perform an opera, it is the singers, especially the two protagonists, who face the biggest challenge in this, his most complex, work. Isolde, promised to Marke, the elderly king of Cornwall and brought to this loveless marriage by Tristan, a knight who shares with her their secret love, sings almost non-stop for all three acts. Soprano Linda Watson, a Wagner specialist, brought warmth and passion to the role and conveyed both the strength and vulnerability of this conflicted character who finds herself hopelessly in love with the man who had slain her former fiancé in combat and is now bringing her to his king. Veteran heldentenor John Treleaven was a Tristan who made up with sincerity and ardor what he may have lacked in sheer vocal power. He was utterly convincing as a man of honor who finally betrays his allegiance to Marke and yields to an overwhelming passion for his beloved Isolde, an inescapable desire catalyzed by a magical “love potion” that both drink, ignorant of its potency. In supporting roles, mezzo Lioba Braun, as Isolde’s faithful companion, Brangane, Juha Uusitalo, a baritone of ringing tones, as Kurwenal, Tristan’s loyal friend, and bass Kristinn Sigmundsson, who sang the role of King Marke with vocal and dramatic elegance and authority, were more than adequate to their tasks.
Richard Wagner was so overcome with his need to compose this epic saga of love locked in mortal combat with duty and honor that he stopped work on what was destined to become his historic and monumental “Ring Cycle” and turned his creative powers on this legendary tale of the doomed love between a beautiful Irish princess and a heroic knight from Cornwall. Exiled from his native country for revolutionary writings in support of a unified Germany, he was to spend ten years living primarily in a villa in Switzerland supplied to him by Otto Weisendonk, a wealthy silk merchant and his young wife, Mathilde, who was to become Wagner’s inspiration (and, undoubtedly, something more.. Never one to either stand on ceremony or be grateful for favors done by others, he dedicated five romantic songs to her and, when he became immersed in reading the medieval tale of the two doomed lovers, in the throes of a passion himself for his admiring hostess, he put down his completed dramatic poem, “Siegfried’s Death” (which was to become the penultimate opera in the four opera “Der Ring des Niebelungen”) and set to work on “Tristan und Isolde.” In the spring of 1857, he read his new creation to an informal audience of four gathered in the Weisondonk Swiss manor house: His, by now, long suffering wife, Minna; the worshipful, Mathilde; Hans von Bulow, a noted conductor and pianist and his wife, Cosima. An intriguing group to be sure since Cosima, the illegitimate daughter of Franz Liszt, was shortly to become Wagner’s mistress, the mother of his three children and, ultimately in 1870, his wife following Minna’s death.
With the successes of “Der fliegende Hollander”, “Tannhauser” and “Lohengin” behind him and his reputation as Germany’s leading opera composer, he made a triumphal return to a unified nation and basked in the glow of the glittering success of “Tristan und Isolde” on June 10, 1865 in Munich. From its premiere to this day it, along with Beethoven’s 9th Symphony, are considered to be the two most significant musical compositions of the 19th century. Whether he knew it or not, Wagner changed the nature of Western music.
“Tristan und Isolde” is not everyone’s cup of tea. But for those intrepid opera goers who can deal with its length and willingly succumb to music that is overwhelming in its beauty, it is as heady as potion as that imbibed by the timeless lovers.
Richard Wagner’s “Tristan und Isolde” is a test for any opera company and, not the least, because of its nearly 5 hour’s length, a test for an audience. When it’s done right, it is a treat for both. Such was the case at the February 3rd matinee performance produced by the Los Angeles Opera at the Dorothy Chandler Pavilion.
We are drawn into the drama by the absolutely stunning set design by David Hockney. This internationally acclaimed artist has transformed what is normally a series of gloomy settings to match the dark, death-obsessed relationship between the two title characters into a series of brilliant yet lush vistas which dramatically convey a mutually felt passion, both expressed and implied in Wagner’s overwhelming melodies and sonorities. Though Tristan and his Isolde are doomed from the start, the settings serve to remind us that they truly believe that love will transcend their conflicted lives and bring eternal bliss. The orchestra, under the sensitive and insightful direction of James Conlon was more than up to the challenges of this landmark opera which emancipated dissonance and threw wide the gates of chromaticism. From the opening Prelude to Isolde’s heart-rending “Mild und leise.” which ends the opera, the Los Angeles Opera orchestra again demonstrated why it has come of age. However, while Wagner, perhaps more than any other composer before or since, firmly believed in the equality of all the forces needed to perform an opera, it is the singers, especially the two protagonists, who face the biggest challenge in this, his most complex, work. Isolde, promised to Marke, the elderly king of Cornwall and brought to this loveless marriage by Tristan, a knight who shares with her their secret love, sings almost non-stop for all three acts. Soprano Linda Watson, a Wagner specialist, brought warmth and passion to the role and conveyed both the strength and vulnerability of this conflicted character who finds herself hopelessly in love with the man who had slain her former fiancé in combat and is now bringing her to his king. Veteran heldentenor John Treleaven was a Tristan who made up with sincerity and ardor what he may have lacked in sheer vocal power. He was utterly convincing as a man of honor who finally betrays his allegiance to Marke and yields to an overwhelming passion for his beloved Isolde, an inescapable desire catalyzed by a magical “love potion” that both drink, ignorant of its potency. In supporting roles, mezzo Lioba Braun, as Isolde’s faithful companion, Brangane, Juha Uusitalo, a baritone of ringing tones, as Kurwenal, Tristan’s loyal friend, and bass Kristinn Sigmundsson, who sang the role of King Marke with vocal and dramatic elegance and authority, were more than adequate to their tasks.
Richard Wagner was so overcome with his need to compose this epic saga of love locked in mortal combat with duty and honor that he stopped work on what was destined to become his historic and monumental “Ring Cycle” and turned his creative powers on this legendary tale of the doomed love between a beautiful Irish princess and a heroic knight from Cornwall. Exiled from his native country for revolutionary writings in support of a unified Germany, he was to spend ten years living primarily in a villa in Switzerland supplied to him by Otto Weisendonk, a wealthy silk merchant and his young wife, Mathilde, who was to become Wagner’s inspiration (and, undoubtedly, something more.. Never one to either stand on ceremony or be grateful for favors done by others, he dedicated five romantic songs to her and, when he became immersed in reading the medieval tale of the two doomed lovers, in the throes of a passion himself for his admiring hostess, he put down his completed dramatic poem, “Siegfried’s Death” (which was to become the penultimate opera in the four opera “Der Ring des Niebelungen”) and set to work on “Tristan und Isolde.” In the spring of 1857, he read his new creation to an informal audience of four gathered in the Weisondonk Swiss manor house: His, by now, long suffering wife, Minna; the worshipful, Mathilde; Hans von Bulow, a noted conductor and pianist and his wife, Cosima. An intriguing group to be sure since Cosima, the illegitimate daughter of Franz Liszt, was shortly to become Wagner’s mistress, the mother of his three children and, ultimately in 1870, his wife following Minna’s death.
With the successes of “Der fliegende Hollander”, “Tannhauser” and “Lohengin” behind him and his reputation as Germany’s leading opera composer, he made a triumphal return to a unified nation and basked in the glow of the glittering success of “Tristan und Isolde” on June 10, 1865 in Munich. From its premiere to this day it, along with Beethoven’s 9th Symphony, are considered to be the two most significant musical compositions of the 19th century. Whether he knew it or not, Wagner changed the nature of Western music.
“Tristan und Isolde” is not everyone’s cup of tea. But for those intrepid opera goers who can deal with its length and willingly succumb to music that is overwhelming in its beauty, it is as heady as potion as that imbibed by the timeless lovers.
Monday, December 17, 2007
A DAY AT THE OPERA with Earl Schub
LA Opera’s La Boheme – It Works !!
It’s too bad that the Los Angeles Opera company’s run of "La Boheme", the world’s most beloved opera, ended on Sunday, December 16th. It could fill the Dorothy Chandler Pavilion right on through the holiday season and, since the action begins on Christmas Eve, that would be most appropriate. This magical work still makes us heady with the joy of young love in the first two acts and brings tears to our eyes with the heartbreaking, but never sentimental, dénouement of the last two acts. Since its triumphant premiere at the Teatro Regio in Turin on February 1, 1896, this close-to-perfect as any piece of musical theater could possibly be, has been well nigh indestructible. And the Los Angeles Opera production which debuted in 1993 continues in this tradition.
Giacomo Puccini was already being acclaimed as the “next Verdi” after his 1893 Manon Lescaut which, coincidentally, also premiered on February 1st in the same theater. Always a slow and careful composer, he took three years to adapt Henri Murger’s immensely popular novel Scenes de la Vie de Boheme. He not only had to urge patience on the part of his publisher, Giulio Ricordi, but was being prodded to complete the score by the knowledge that another composer, Ruggiero Leoncavallo , the composer of the wildly acclaimed I Pagliacci, was working on the same project. The latter’s La Boheme opened 15 months later and so suffered by comparison with Puccini’s version that it is considered a rarity today.
Ably assisted by librettists Giuseppe Giacosa and Luigi Illica, Puccini caught the essence and spirit of the Murger novel and was able to both gladden and break our hearts all in 2-1/2 hours of unforgettable melodies juxtaposed perfectly with the events being shared by six impressionable, irresistibly romantic young people caught up in a lifestyle punctuated by poverty but never without hope.
This production, originally conceived by the late Herbert Ross, was designed by Gerald Howland and directed by Stanley M. Garner. Originally set by Murger in 1830, it has been transferred to 1897-98 for no particular reason, I suspect, other then to afford us a view of the Eiffel tower. Is the dominating presence of this venerated structure, the world’s tallest when it was opened to the public in 1889 as part of an exposition to celebrate the centenary of the French Revolution, symbolic of the rise of industry and the concomitant spread of materialism that was sure to doom the artists who populated the Left Bank? Perhaps.
In "La Boheme", the bi-level tenement in which Rodolfo, the poet and Marcello, the painter, share a single room garret offers little cheer beyond the unbridled optimism and good humor of its occupants. These two free spirits are part of a foursome which includes Schaunard, a musician, and Colline, a philosopher. All live their carefree lives from day to day and exist on each other’s ability to somehow come up with enough money for food and, when possible, the rent. When Mimi, a beautiful, impoverished and ailing upstairs neighbor enters Rodolfo’s life and a former love, the coquettish, Musetta, succeeds in once again ensnaring Marcello, our story takes a romantic but ultimately tragic turn. Marcello and Musetta reunite, most likely briefly, at the conclusion but, alas, Mimi returns to her Rodolfo only to die in his arms, a victim of consumption, a disease that wracked the underclass at the same time that the captains of industry were accumulating vast wealth. (The Eiffel Tower symbol, no doubt, as a reminder?)
The young and attractive singers at the December 16th matinee performance of "La Boheme" which I attended filled the bill admirably and capably, if not always thrillingly. Brian Leerhuber (Schaunard) and Oren Gradus (Colline) supported the four principals with the requisite humor and pathos. Luca Salsi (Marcello) wowed us with powerful top tones but was disappointing with almost inaudible low notes. His Musetta, Laquita Mitchell, sang and acted up a storm as the coquette with a golden heart and her big second act show-stopper aria, “Quando m’en vo’ “ did just that. The demanding role of Mimi was entrusted to Maija Kovaleska who, after a somewhat hesitant start and unconvincing “Mi chiamano Mimi” in Act I, got better and better as the show progressed until her poignant death scene in Act IV broke the hearts of all 3,200 people who filled the theater to capacity. This brings us to Massimo Giordano, our Rodolfo, a role that must not only charm but make us as captivated by him as the impressionable Mimi. And he must essentially do all of this within the first 20 minutes of the opera, climaxed by his big aria, “Che gelida manina” in which he takes Mimi’s “frozen little hand” in his and warms her hand and wins her heart. It’s a lot to ask and there’s a high C to boot. Giordano, the one experienced international star in the cast didn’t quite live up to this daunting challenge. The voice was a bit edgy and rough, too many sobs in what should essentially be a straight forward description of who he is and how Mimi has gladdened his eye and I suspect the high C was not there. However, he was ardent and passionate and, like Mimi got stronger and better as the action progressed. All in all, he satisfied.
"La Boheme's" final act is the ultimate test. In it we hear snatches of all the beautiful melodies of the first act reprised and then there is a new one. It is Mimi’s premonition of death, the heart-wrenching “Sono andate” – eight measures of an unbearably exquisite melody – phrases that descend by half-steps that musically mirror the ebbing of her life. It shatters us as we know, yet again, that there will be no happy ending, no getting better. It is heard only once more, as the distraught Rodolfo cries out her name twice as he cradles her lifeless body in his arms and the curtain falls. Kovaleska and Giordano were supremely up to their task. If this doesn’t get you to sob in sympathy and understanding of young love found and then lost forever, nothing will. It did.
It’s too bad that the Los Angeles Opera company’s run of "La Boheme", the world’s most beloved opera, ended on Sunday, December 16th. It could fill the Dorothy Chandler Pavilion right on through the holiday season and, since the action begins on Christmas Eve, that would be most appropriate. This magical work still makes us heady with the joy of young love in the first two acts and brings tears to our eyes with the heartbreaking, but never sentimental, dénouement of the last two acts. Since its triumphant premiere at the Teatro Regio in Turin on February 1, 1896, this close-to-perfect as any piece of musical theater could possibly be, has been well nigh indestructible. And the Los Angeles Opera production which debuted in 1993 continues in this tradition.
Giacomo Puccini was already being acclaimed as the “next Verdi” after his 1893 Manon Lescaut which, coincidentally, also premiered on February 1st in the same theater. Always a slow and careful composer, he took three years to adapt Henri Murger’s immensely popular novel Scenes de la Vie de Boheme. He not only had to urge patience on the part of his publisher, Giulio Ricordi, but was being prodded to complete the score by the knowledge that another composer, Ruggiero Leoncavallo , the composer of the wildly acclaimed I Pagliacci, was working on the same project. The latter’s La Boheme opened 15 months later and so suffered by comparison with Puccini’s version that it is considered a rarity today.
Ably assisted by librettists Giuseppe Giacosa and Luigi Illica, Puccini caught the essence and spirit of the Murger novel and was able to both gladden and break our hearts all in 2-1/2 hours of unforgettable melodies juxtaposed perfectly with the events being shared by six impressionable, irresistibly romantic young people caught up in a lifestyle punctuated by poverty but never without hope.
This production, originally conceived by the late Herbert Ross, was designed by Gerald Howland and directed by Stanley M. Garner. Originally set by Murger in 1830, it has been transferred to 1897-98 for no particular reason, I suspect, other then to afford us a view of the Eiffel tower. Is the dominating presence of this venerated structure, the world’s tallest when it was opened to the public in 1889 as part of an exposition to celebrate the centenary of the French Revolution, symbolic of the rise of industry and the concomitant spread of materialism that was sure to doom the artists who populated the Left Bank? Perhaps.
In "La Boheme", the bi-level tenement in which Rodolfo, the poet and Marcello, the painter, share a single room garret offers little cheer beyond the unbridled optimism and good humor of its occupants. These two free spirits are part of a foursome which includes Schaunard, a musician, and Colline, a philosopher. All live their carefree lives from day to day and exist on each other’s ability to somehow come up with enough money for food and, when possible, the rent. When Mimi, a beautiful, impoverished and ailing upstairs neighbor enters Rodolfo’s life and a former love, the coquettish, Musetta, succeeds in once again ensnaring Marcello, our story takes a romantic but ultimately tragic turn. Marcello and Musetta reunite, most likely briefly, at the conclusion but, alas, Mimi returns to her Rodolfo only to die in his arms, a victim of consumption, a disease that wracked the underclass at the same time that the captains of industry were accumulating vast wealth. (The Eiffel Tower symbol, no doubt, as a reminder?)
The young and attractive singers at the December 16th matinee performance of "La Boheme" which I attended filled the bill admirably and capably, if not always thrillingly. Brian Leerhuber (Schaunard) and Oren Gradus (Colline) supported the four principals with the requisite humor and pathos. Luca Salsi (Marcello) wowed us with powerful top tones but was disappointing with almost inaudible low notes. His Musetta, Laquita Mitchell, sang and acted up a storm as the coquette with a golden heart and her big second act show-stopper aria, “Quando m’en vo’ “ did just that. The demanding role of Mimi was entrusted to Maija Kovaleska who, after a somewhat hesitant start and unconvincing “Mi chiamano Mimi” in Act I, got better and better as the show progressed until her poignant death scene in Act IV broke the hearts of all 3,200 people who filled the theater to capacity. This brings us to Massimo Giordano, our Rodolfo, a role that must not only charm but make us as captivated by him as the impressionable Mimi. And he must essentially do all of this within the first 20 minutes of the opera, climaxed by his big aria, “Che gelida manina” in which he takes Mimi’s “frozen little hand” in his and warms her hand and wins her heart. It’s a lot to ask and there’s a high C to boot. Giordano, the one experienced international star in the cast didn’t quite live up to this daunting challenge. The voice was a bit edgy and rough, too many sobs in what should essentially be a straight forward description of who he is and how Mimi has gladdened his eye and I suspect the high C was not there. However, he was ardent and passionate and, like Mimi got stronger and better as the action progressed. All in all, he satisfied.
"La Boheme's" final act is the ultimate test. In it we hear snatches of all the beautiful melodies of the first act reprised and then there is a new one. It is Mimi’s premonition of death, the heart-wrenching “Sono andate” – eight measures of an unbearably exquisite melody – phrases that descend by half-steps that musically mirror the ebbing of her life. It shatters us as we know, yet again, that there will be no happy ending, no getting better. It is heard only once more, as the distraught Rodolfo cries out her name twice as he cradles her lifeless body in his arms and the curtain falls. Kovaleska and Giordano were supremely up to their task. If this doesn’t get you to sob in sympathy and understanding of young love found and then lost forever, nothing will. It did.
Tuesday, December 4, 2007
A DAY AT THE OPERA with Earl Schub
Los Angeles Opera's
Mozart's "Don Giovanni": Pleasing and Puzzling
Reviewed and written by Earl Schub
I could hardly wait for my Sunday, December 2, 2007, matinee performance of the Mozart masterpiece, one of the three gems he wrote with his brilliant librettist, Lorenzo da Ponte. Of the three, Don Giovanni is the most complex, the most challenging because it deals with a mythic "hero" or, if you prefer, "anti-hero." Whether the antics of the libidinous nobleman please or repulse, there's no getting away from the fact that this fictional womanizer is for the ages. If the singers are right and the conductor has a firm grip on his/her Mozart and the orchestra is up to the challenge, conventional wisdom holds that even the most iconoclastic directors and bizarre stage settings cannot do in this 3-hour potpourri of Mozart's most dramatic ensembles and intense arias. Conventional wisdom isn't always right.
Director Mariusz Trelinski does us the service of explaining his concept of "timelessness" in a lengthy program note. He warns us that, "While trying to leave room for our imagination, I try to avoid building specific settings pretending to be a house or a palace." No question about it - in this he and his set designer, Boris F. Kudlicka have succeeded admirably. There is nothing even remotely resembling a house or a palace or a street or a cemetery for that matter, all traditional settings for the action in Don Giovanni. And as for the placement of a huge hourglass far downstage to remind us that this opera is timeless - - - please give your audience some credit. But, in spite of the many distractions, glitzy lighting, costumes that defy description and human figures meant to symbolize everything that Freud could have imagined in his or our wildest dreams, there is still something not so disarming or so displeasing as to make us chalk this up as another failed exercise in updating a classic and doing irreparable damage. You can't dismiss it; you can't forget it. And just maybe that's what Mr. Trelinski had in mind.
If the ultimate challenge of any opera is to suit the music to the action, the action to the word, this one is at the top of any "must-see" list. Premiered in Prague on October 29, 1787 and set in some unspecified year in the seventeenth century, "Don Giovanni" has been the signature role, in our time, of such primo bass-baritones as Ezio Pinza, Cesare Siepi, Samuel Ramey and today's rising superstar, Erwin Schrott, who is the current Don at the Dorothy Chandler Pavilion and performs the role with demonic dash if not a wished-for bit of suavity. Alexandra Deshorties is a "Donna Anna" of distinction possessing a bright, cutting soprano, perfect for portraying this high-strung vengeance seeking latest victim of the lecherous title character. Maria Kanyova is a solid "Donna Elvira" and Lauren McNeese a fetching "Zerlina" who is surely more wanton in this director's concept of the role than in any other production that I (and, I'm sure, Mozart) ever saw. For pure beauty of voice and interpretation of an extremely difficult role, that of "Don Ottavio." tenor Charles Castronovo was nothing less than sensational. His first act aria, "Dalla sua pace" and the second act, "Il mio tesoro." displayed a flawless technique and a nuance of expression that I have rarely seen. He's worth the price of admission. Kyle Ketelson's "Leporello," the Don's indefatigable but always-complaining sidekick, the "Masetto" of James Creswell and Kang- Liang Peng's "Commendatore, he of stentorian tones, all performed ably and compellingly.
Performances run thorough December 15 and while the production will surely not suit everyone's taste, the singing and, most assuredly, the timeless music of "The Titan of Salzburg" demand your attention.
Mozart's "Don Giovanni": Pleasing and Puzzling
Reviewed and written by Earl Schub
I could hardly wait for my Sunday, December 2, 2007, matinee performance of the Mozart masterpiece, one of the three gems he wrote with his brilliant librettist, Lorenzo da Ponte. Of the three, Don Giovanni is the most complex, the most challenging because it deals with a mythic "hero" or, if you prefer, "anti-hero." Whether the antics of the libidinous nobleman please or repulse, there's no getting away from the fact that this fictional womanizer is for the ages. If the singers are right and the conductor has a firm grip on his/her Mozart and the orchestra is up to the challenge, conventional wisdom holds that even the most iconoclastic directors and bizarre stage settings cannot do in this 3-hour potpourri of Mozart's most dramatic ensembles and intense arias. Conventional wisdom isn't always right.
Director Mariusz Trelinski does us the service of explaining his concept of "timelessness" in a lengthy program note. He warns us that, "While trying to leave room for our imagination, I try to avoid building specific settings pretending to be a house or a palace." No question about it - in this he and his set designer, Boris F. Kudlicka have succeeded admirably. There is nothing even remotely resembling a house or a palace or a street or a cemetery for that matter, all traditional settings for the action in Don Giovanni. And as for the placement of a huge hourglass far downstage to remind us that this opera is timeless - - - please give your audience some credit. But, in spite of the many distractions, glitzy lighting, costumes that defy description and human figures meant to symbolize everything that Freud could have imagined in his or our wildest dreams, there is still something not so disarming or so displeasing as to make us chalk this up as another failed exercise in updating a classic and doing irreparable damage. You can't dismiss it; you can't forget it. And just maybe that's what Mr. Trelinski had in mind.
If the ultimate challenge of any opera is to suit the music to the action, the action to the word, this one is at the top of any "must-see" list. Premiered in Prague on October 29, 1787 and set in some unspecified year in the seventeenth century, "Don Giovanni" has been the signature role, in our time, of such primo bass-baritones as Ezio Pinza, Cesare Siepi, Samuel Ramey and today's rising superstar, Erwin Schrott, who is the current Don at the Dorothy Chandler Pavilion and performs the role with demonic dash if not a wished-for bit of suavity. Alexandra Deshorties is a "Donna Anna" of distinction possessing a bright, cutting soprano, perfect for portraying this high-strung vengeance seeking latest victim of the lecherous title character. Maria Kanyova is a solid "Donna Elvira" and Lauren McNeese a fetching "Zerlina" who is surely more wanton in this director's concept of the role than in any other production that I (and, I'm sure, Mozart) ever saw. For pure beauty of voice and interpretation of an extremely difficult role, that of "Don Ottavio." tenor Charles Castronovo was nothing less than sensational. His first act aria, "Dalla sua pace" and the second act, "Il mio tesoro." displayed a flawless technique and a nuance of expression that I have rarely seen. He's worth the price of admission. Kyle Ketelson's "Leporello," the Don's indefatigable but always-complaining sidekick, the "Masetto" of James Creswell and Kang- Liang Peng's "Commendatore, he of stentorian tones, all performed ably and compellingly.
Performances run thorough December 15 and while the production will surely not suit everyone's taste, the singing and, most assuredly, the timeless music of "The Titan of Salzburg" demand your attention.
Wednesday, October 31, 2007
The Ultimate Cheese Course
Here's a slide show with images from our recent Ultimate Cheese Course. I hope you get as much fun from watching this little "film" as much as everyone enjoyed tasting all the amazing and delicious cheeses Melody introduced you to! Bon Apetit and keep on eating cheese!
Tuesday, September 11, 2007
From Beverly Olevin, Artist in Residence
Hi, welcome to the Osher Blog. For those of you who have never visited a blog and are not certain how all this works, don’t worry…this is all new to me too. We’ll figure it out together.
This promises to be an exciting and innovative year for Osher at UCLA Extension. I’m delighted and honored to be the first Artist in Residence for the program. I’ll be doing a variety of things throughout the year including continuing the “salons” many of you have already attended.
I’ll be teaching three classes: "The Wit and Wisdom of Shakespeare" in the fall, "A Conscious Journey Through the Second Half of Life" in the winter and "The Play’s the Thing" in the spring.
I will also be developing a theatrical performance created by the voices and talents of Osher members. This show will be presented in the spring in a theater. It will feature a collection of pieces written and performed by you in the form of monologues, short scenes, humorous improvisations, music and poetry. The theme will be looking at the journey of our lives and what that journey has taught us as we move into the future. The tentative title of this project is “The Voices and Visions of Our Journey.” I hope many of you will want to participate in this unique event. There will be much more to come on how to get involved.
I also want to create a “virtual salon” on this blog so that you can dialogue about the issues that concern you most. I’m always open and eager to hear your ideas. You can contact me through this blog or by calling Osher.
About Me
My primary focus as Artist in Residence will reflect my work in the field of performing arts. I am a playwright and theatrical director. In 2001, my play, "Soundings," was presented at the Odyssey Theater in West Los Angeles. "The Green Room," a comedy, ran at Theatre 40 in 2005. I’ve directed over 15 plays with wonderful professional actors, many of whom have been kind enough to do scenes for my "The Play’s the Thing" class.
I also write fiction including my novel, "The Breath of Juno," and many short stories that have been published in literary journals and magazines. Currently I’m directing a short dramatic film I wrote.
This is a new adventure for me and I’m learning a great deal. That is the spirit I hope to bring to this year at Osher. Try new things, learn a new skill, take chances, make your life an adventure.
This promises to be an exciting and innovative year for Osher at UCLA Extension. I’m delighted and honored to be the first Artist in Residence for the program. I’ll be doing a variety of things throughout the year including continuing the “salons” many of you have already attended.
I’ll be teaching three classes: "The Wit and Wisdom of Shakespeare" in the fall, "A Conscious Journey Through the Second Half of Life" in the winter and "The Play’s the Thing" in the spring.
I will also be developing a theatrical performance created by the voices and talents of Osher members. This show will be presented in the spring in a theater. It will feature a collection of pieces written and performed by you in the form of monologues, short scenes, humorous improvisations, music and poetry. The theme will be looking at the journey of our lives and what that journey has taught us as we move into the future. The tentative title of this project is “The Voices and Visions of Our Journey.” I hope many of you will want to participate in this unique event. There will be much more to come on how to get involved.
I also want to create a “virtual salon” on this blog so that you can dialogue about the issues that concern you most. I’m always open and eager to hear your ideas. You can contact me through this blog or by calling Osher.
About Me
My primary focus as Artist in Residence will reflect my work in the field of performing arts. I am a playwright and theatrical director. In 2001, my play, "Soundings," was presented at the Odyssey Theater in West Los Angeles. "The Green Room," a comedy, ran at Theatre 40 in 2005. I’ve directed over 15 plays with wonderful professional actors, many of whom have been kind enough to do scenes for my "The Play’s the Thing" class.
I also write fiction including my novel, "The Breath of Juno," and many short stories that have been published in literary journals and magazines. Currently I’m directing a short dramatic film I wrote.
This is a new adventure for me and I’m learning a great deal. That is the spirit I hope to bring to this year at Osher. Try new things, learn a new skill, take chances, make your life an adventure.
Thursday, August 23, 2007
Top Ten Things To Do In Westwood Village When Taking an Osher Course
So, you’re enrolled in an Osher course. Wondering what to do if you arrive early in Westwood, or have time after class or between classes? If you’ve paid for a day of parking or if you arrived by bus and have time between excursions, why not make the most of the day, leave the familiar territory of Lindbrook Drive, explore the side streets of Westwood, and maximize your Osher experience? Here is a list of some of my favorite things to do in Westwood Village. Hope you enjoy them as well!
- Visit the Hammer Museum on 10899 Wilshire Boulevard, between Westwood Boulevard and Glendon Avenue. If you are not a member, the museum is free on Thursdays. Or, think about becoming a member to join in on fascinating special programs and exhibits. Take a look at their website to get the latest information: www.hammer.ucla.edu Also, stop into the museum store – it’s filled with artful and unusual gifts.
- Cross Westwood Boulevard to the Westwood Village Memorial Park, also known as the Cemetery of the Stars, located at 1218 Glendon Avenue. Many Hollywood luminaries lay in rest there including Marilyn Monroe, Truman Capote, and Natalie Wood. Learn more: http://www.dailybruin.ucla.edu/archives/id/20227/
- Hungry? Then stop in at tiny but delicious “Bella Pita” for a fresh pita bread filled with a hearty made-to-order falafel and fill it with top-quality greens and condiments from their salad bar. Beef, bean, and cheese wowshis are served, too. Everything is made on the premises located at 960 Gayley Avenue in the shadow of In-N-Out Burger.
- Need to pick up a few cheeses after taking Osher’s “The Ultimate Cheese Course”? Remember that there’s a very nice Ralph’s located on Le Conte Avenue between Westwood Boulevard and Tiverton Avenue, near the Geffen Theater. Also, Whole Foods Market is located on 1050 Gayley Avenue. Both have dining areas for a quick and inexpensive bite to eat.
- Near Whole Foods Market is an amazing paper, pen, card and gift shop called “FLAX”, a relation of FLAX Art Supply Store. If you are looking for a unique one-of-a-kind letterpress card, a special pen, handsome photo albums, or just want to look at pretty things, wander into FLAX at 1078 Gayley Avenue. Learn more: http://www.flaxpentopaper.com/about.html
- You’re sure to leave Osher’s new course,“India: An Intense Independent Idea” feeling a little hungry. After class, experience the cuisine of Bombay at Bombay Bite on 1051 Gayley Avenue. This comfortable, contemporary restaurant’s menu features fresh and light Bombay style Indian dishes as well as Chinese-Indian inspired food. The lunch menu offers an opportunity to sample many flavors at a reasonable price. Read a review at: http://bombaybite.com/images/latimes.pdf
- Where to find the best tang for your buck? Experience first hand the Los Angeles frozen yogurt wars you’ve been reading about. Four new frozen yogurt shops have opened recently in Westwood Village, starting with Pinkberry on 10911 Lindbrook Drive, the shop that started the craze. Also, taste test Red Mango at 10942 Weyburn Avenue and Mr. Snowberry at 10877 Weburn Avenue. All feature plain and green tea flavored yogurts with the exception of newly opened Polar Monkey on 10912 Le Conte Avenue that specializes in fresh tomato flavored frozen yogurt. Stop wincing—it’s quite refreshing when combined with their tart plain frozen yogurt.
- Do you have the urge to leave it all behind and move to Italy after you’ve taken the “Italy: Word + Image” course? If so, jump on the Westwood FlyAway bus to LAX. One way tickets to the airport are only $4! Learn more at: http://www.lawa.org/flyAway/ -- it’s so convenient.
- The David Geffen School of Medicine at UCLA is the home of the Louise M. Darling Biomedical Library. The hallway outside the library features an area of glass cases that line the corridor and display fascinating books, manuscripts, and ephemera often related to the history of medicine. It’s always worth peaking in to see some rare and unusual medical documents. The library is located in Room 12-077 on the first floor, second corridor of the UCLA Medical Center. The closest campus entrance is the intersection of Le Conte and Tiverton Avenues. To learn more: http://www.library.ucla.edu/libraries/biomed/visit/index.html. You can also visit their online exhibits of medical history.
- Did you know that there is a seven acre botanical garden at UCLA? The Mildred Mathias Botanical Garden is a magical place with plant specimens from around the world. Stroll through the many paths or picnic on a bench. The garden is open Monday through Friday 8 a.m. to 5 p.m. and Saturday and Sunday from 8 a.m. to 4 p.m. To learn more about the garden and read about the trailblazing career of its namesake botanist, Mildred Mathias, visit www.botgard.ucla.edu. The Botanical Garden is located on the southeastern corner of the UCLA campus, across the street from the Medical Library. The main entrance is on Tiverton Ave., near the Emergency Center of the Hospital. The south entrance is at the corner of Hilgard Ave. and Le Conte Ave., and the north entrance is opposite The Patio, behind the Botany Building.
If you have a favorite spot in Westwood, write in and share it with your fellow Osher members. After an adventure in intellectual exploration with Osher, let’s hear about your culinary, social, and cultural travels through Westwood Village.
Subscribe to:
Posts (Atom)