Review

French Revolution defeats Roberto Alagna

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I went to see Andrea Chénier at the Opera Orchestra of New York and I wrote about it for Bachtrack.

Yesterday I went to see a convoluted
story about French revolutionaries, as belted out at top volume to
serviceable but hardly creative ballads. No, I didn’t go to the Les misérables movie. I went to see Roberto Alagna in Opera Orchestra of New York’s concert presentation of Umberto Giordano’s Andrea Chénier.


Read the rest here. This was bad, people. Roberto Alagna had barely learned the music, had no conception of the role, and seemed not quite present all afternoon. Alberto Veronesi is not a master conductor and didn’t offer anything to make up for this deficit, nor was he probably the ideal choice to lead someone unsure through this rhythmically tricky music for the first time. Kristin Lewis had some issues and this role was a little more than her voice can handle right now, volume-wise–at least with Veronesi’s insensitive conducting, in the unfriendly surroundings of Avery Fisher–but the sound is interesting, and I would like to give her another chance under happier circumstances. George Petean was the real pro here, and turned in a thoroughly decent performance, though not as scene-stealing as Rosalind Elias.

But a sad spectacle. I like Alagna (sometimes, it seems, inexplicably), the guy still has an attractive voice and considerable charm, but this was embarrassing for everyone. Maybe it’s personal issues, maybe he just didn’t take this gig seriously, but I hope this is just a temporary slip.

Photo copyright Stephanie Berger.

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Review

The Opera Orchestra of New York’s Rienzi

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I went to see the Opera Orchestra of New York’s concert performance of Rienzi and I wrote about it for Bachtrack:

Early works by major composers can be
fascinating. We try to see in them premonitions of the greatness to
come, or hope they will cast light on a more familiar later work. The
Opera Orchestra of New York’s concert presentation of Rienzi, Richard Wagner’s third opera, was fairly useless in this regard: most of Rienzi
sounds nothing like mature Wagner. But it justifies itself on its own
merits, a grand opera of impressive effect and achievement. This scrappy
but exciting performance sometimes rose to the occasion.

You can read the full review here. I put in a fair amount of background because a) this is an unusual piece and I think it helps to know where it’s coming from and b) the program didn’t provide a single bit of notes, not even a synopsis. Other than the work itself the discovery of the afternoon was mezzo Géraldine Chauvet. She sounded a little overparted and strained at a few of the climaxes but it was a super performance. As Irene Elisabete Matos walked the line between old style divatude and a parody of old style divatude, often not quite having the voice to back up her bravado. Ian Storey had a rough time of it as Rienzi, no better than his gargled Énée of a year ago. But I’m glad I went!

I am very busy at work currently and probably won’t make it to many live performances in February, but I hope to have some other things to write about.

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Review

Gheorghiu and Kaufmann turn violet again in Adriana Lecouvreur

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(Not in concert.)

I went to see the ever-elusive Angela Gheorghiu and the happily ubiquitous Jonas Kaufmann in the Opera Orchestra of New York’s concert Adriana Lecouvreur at Carnegie Hall last night and I wrote about it for Bachtrack:

“I will return! I want to again be
intoxicated by the triumphant smile of art!” proclaims the actress
Adriana Lecouvreur in the extravagant opera of the same title. With this
role, the soprano Angela Gheorghiu returned to New York in the first
performance of the Opera Orchestra of New York’s Carnegie Hall season.
After financial difficulties the company itself has been making a
comeback as well, under new musical director Alberto Veronesi. For over
40 years, the group has produced concert performance of lesser-known
operas with outstanding casts, and this evening was a fine continuation
of that tradition, with strong performances from Jonas Kaufmann,
Ambrogio Maestri, and Anita Rachvelishvili in the other major roles.

Click here to read the full review.

I saw them in this last year in London and then I was conflicted between being overwhelmed and oddly not-quite-whelmed. In concert, this opera actually seems to work better. The music isn’t quite top drawer but it has a kind of sincerity and directness that can be both beguiling and exciting. This came through more clearly without having to think about the silly plot or David McVicar’s futile attempt to give the happenings some symbolic substance. The opera has emotional power but it lacks strong dramatic syntax, and it’s better when you focus on the former strength rather than the latter weakness. (It should be noted, though, that Angela’s couture for this concert was most impressive as well, both dresses very 1970’s, the first resembling a disco ball and the second a low-cut nightgown with a rhinestone belt and attached cape.)

This didn’t stop me from writing down some silly surtitles, though:

  • Love is a flame, friendship is its ashes.
  • I love him with the fiery recklessness of one who has had her heart taken for the first time.
  • You’re the sun that gilds the eternal Arctic night.
  • Their eyes flash like pairs of blades, showing no mercy.
  • Our love defies fate, eludes death in golden dreams.

Nevertheless, I was totally crying at the end, go figure.

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