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Opera Meets Film: The Many Dynamics of Max Nosseck’s ‘Overture to Glory’

OperaWire — Thu, 19 Dec 2024 05:07:28 +0000

The idea that opera is a controversial influence on society is not a new idea per se. Beginning in the early 17th century, the idea of “opera” in its formal meaning began to spread, and by the end of the next century, it had become a seminal part of cosmopolitan life in Baroque (then Classical) Europe. That being said, during the 18th century onwards, opera served a plethora of overlapping functions for everyone from the aristocracy to the general populace. Politics could be waged through opera, classes could mix without stigma for the first time, and, most importantly, the governing rulership could exert control over the public in ways never before seen, using everything from censorship to curated aesthetics to do so. However, it can not be forgotten that being an opera singer, male or female, in the 18th century was scandalous and was not given the high regard that the job holds today.

As researcher Jane Matz Mary noted, “Men of the [18th century] aristocracy vied with each other to become the lovers of famous prima donnas.” Even without male suitors, women in 18th century opera were seen as, in anthropologist Vlado Kotnik’s words, “lustful, debauched, and engaged in illicit sexual activities.” As Kotnik explains further, the 18th century conception of the operatic ‘prima donna’ was one laced with potent misogyny, while for men, the ‘castrati’ (male singers castrated before puberty) were seen, at least in 18th century England, as soberly threatening to norms of masculine performativity. During the next century, the opera singer became far less scandalous of a position for both men and women, with technical and artistic mastery bestowing upon many a celebrity-like social standing. Nevertheless, discourse on opera’s moral implications remained a hot topic.

So critical was opera’s ability to openly interrogate, influence, and inspire public discourses on morality that the term ‘Traviata-ism,’ coined by British doctor William Acton, became a Verdi-inspired reference to the prevalence of brothels and sex workers within late-19th century England, while Violetta’s life was personified in the controversial Parisian archetype of the ‘lorette.’ During the ‘long 19th century,’ the greater topic influencing operatic discourses on morals and behaviour was that of ‘Nationalist Romanticism,’ the heyday of Nationalism as a movement, and the creation of national mythoi based on fabricated readings of national histories.

One can look to Glinka, Rossini, Verdi, von Weber, Erkel, Smetana, and Wagner as bastions of what is called ‘musical nationalism,’ though it would be wrong to argue operatic nationalism began in the 19th century. Nevertheless, fast forward to the 21st century, and opera (and operatic commentary) is one of the most vociferous outlets for all things, including and not limited to morals, beliefs, taboos, vices, criticisms, behaviors, and politics.

But what about the religious commentary on opera and its potential influences on the devout? During the 18th century, the rise of Enlightenment secularism and religious ambivalence allowed for the establishment of secular opera. In places like Rome and Venice this led to opera’s use in events like ‘carnivals.’ Here classes mixed and lusts were fulfilled, no matter how socially ‘immoral.’ Even now, with ‘regietheatre’ performances of highly controversial 20th-century operas like Hindemith’s religiously critical opera “Sancta,” opera is as provocative as ever. Within the cinematic world, there is a film that personifies one shade of opera’s controversiality. Directed by German Jewish immigrant Max Nosseck, in the 1940 Yiddish-language film, ‘“Overture to Glory,” opera becomes the backdrop for many non-operatic issues which, unfortunately, have become more than relevant today.

As Was Then, So Is Now

The film’s story is rather simple. A Jewish cantor of the Vilna Synagogue (the Great Synagogue of Vilnius, once in Vilnius, Lithuania, before being demolished and looted by the Nazis), is tempted away from his faith after finding success as an opera singer with the Warsaw Opera. There are many historical elements here, giving context to the sobriety of pulling away from the faith towards opera, as our Jewish protagonist, in the midst of wartime Lithuania, is drawn to an opera house in Poland.

Opera in Warsaw, Poland—a city boasting the intimidatingly large Grand Theatre—is a very historic tradition dating back to the mid-18th century, with Italian, French, Polish, and German opera creating a cosmopolitan environment. It would be a drastic understatement to say that opera helped Poland recover, both spiritually, emotionally, culturally, and even politically, after the horrors of the Second World War.

As Polish historian Jerzy Miziołek noted, the spectre of late-20th century Communism was the next burden after fascism that Poland had to face. Nevertheless, opera proved extremely popular. Perhaps surprisingly, “from 1965 to 1970, 25 premieres were given; there were 1,155 performances, seen by a combined audience of more than two million, half of whom were Warsaw residents.” Once the Polish-Russian relationship was formally severed in 1989, Polish operatic cultural infrastructure went through a period of regeneration. One instance during this recovery was the blossoming of the Teatr Narodowy (National Theatre), sharing the same location as the Grand Theatre.

Nosseck had moved to America to flee the rise of Nazism in 1939, and directed under the name of Alexander M. Norris. His film came out in 1940, at a time when Polish opera culture was in a state of dire upheaval under Nazi occupation. During the 1944 Warsaw Uprising, much of the National Theatre had been destroyed, although classical music performances still occurred, even in the face of Nazi oppression. Wartime Poland had a relatively diverse musical culture, from musical cafes to philharmonic orchestras, even though all were touched and hijacked by Germanic influence. Before 1942 and the beginning of the Final Solution, musical performances by and with Untermensch were accepted to a degree. Afterwards, the dynamic changed completely.

This film can be therefore considered a classical example of pre-1942 Polish musical culture: before the ideological tide turned to its most gruesome chapter. It should be considered accidental that the film was released at a time when antisemitism was on the rise, Polish artistic culture was under duress, and 1940s Stalinist Russia was proving, ironically, to be a more accepting place than America. There are many examples of 1940s American antisemitism. One stark example was the 1943 speech given by Congressman John E. Rankin, inspired by classical racism and laced with foreshadowing of McCarthyism, where he said,

When those communistic Jews—of whom the decent Jews are ashamed—go around here and hug and kiss these Negroes, dance with them, intermarry with them, and try to force their way into white restaurants, white hotels and white picture shows, they are not deceiving any red-blooded American…they are not deceiving the men in our armed forces—as to who is at the bottom of all this race trouble.

Secular-Sacred Tensions

The star of Nosseck’s film was real-life Russian Jewish cantor Moishe Oysher. Despite antisemitism, Oysher had made a successful career in America from his sacred and secular singing, being praised for his masculine bravado on film and attractive voice. Having sung at the historic First Roumanian-American Congregation in New York City before the synagogue’s eventual destruction, Oysher was one of many high-profile cantors of the wartime and post-war periods, others being Moshe Koussevitzky, the famous operatic tenor Richard Tucker, and Frank Birnbaum. The idea of a cantor being lead astray, away from the faith and into the world of show business, especially during the interwar ‘Golden Age’ of American entertainment culture, was a variation upon a theme that showed up in everything from literature to films.

As James Hoberman observed, the secular-sacred negotiation of the cantor and the synagogue occurred at a time when both the entertainment world and Jewish cantoring were blossoming. Films like “Voices of Israel” (1931) and Yiddish-language ‘talkies’ (speaking films as opposed to silent films) like “Ad Mosay” (1929) collectively speak to the growing tension between male singers who, if they desired, could leave cantoring and make a career for themselves: but their devotion to the faith constrains these desires. For Oysher, as Hoberman notes, his arrival to New York City in 1928, at a time when Yiddish film was entering into its own ‘Golden Age’ and Jews in the American cinematic scene were becoming a growing force, was met with controversy. The Jewish community considered him to have been already led astray.

Not only had he achieved a career in film, if only mildly due to his cold acting, but his return to cantoring had not been as celebrated as he had initially hoped. In 1937, Oysher secured himself as a cantor, but his 1937 film, “The Cantor’s Son,” helped secure his cinematic fame. In 1943, the film’s plot merged with Oysher’s own life, having signed a deal with Italian opera impresario Fortune Gallo of the Chicago Opera Company. This deal was never really fulfilled, as Jeffery Shandler notes. Having been contracted to sing Eleazar in Halévy’s “La Juive” and Canio in Leoncavallo’s “I Pagliacci,” instead of pursuing opera, Oysher repositioned himself as a Jewish recording artist.

What is fascinating is that another cantor, Yossele Rosenblatt, was also asked by The Chicago Opera to sing Eleazar but said no, even after being championed by Enrico Caruso, because of his faith and his cantoring. This incident is recounted in a 1922 newspaper. In 1954, Oysher returned to cinema but he would pass away four years later. The life of Oysher and the dynamics of pursuing sacred and secular projects simultaneously must have been incredibly difficult, made even more so by negative assessments of Jewish sympathies for Communism within American post-war discourse. In all of this, a great tripartite tension arises: that of devotion to faith versus devotion to art versus devotion to career. Each requires sacrifices specific to the individual.

The film uses opera as a the backdrop for many pressing issues which, for Jews at the start of the Second World War, were heavy on their heart. As the world changes, opera has become a critical form which many opera composers have used to talk about Jewish antisemitism. The choice between one’s faith and a career, one’s faith and safety, one’s faith and freedom are choices many are forced to make everyday, and it is important we remember that, one film at a time.

Listen

The post Opera Meets Film: The Many Dynamics of Max Nosseck’s ‘Overture to Glory’ appeared first on OperaWire.

Best of 2024: OperaWire’s Team on the Best Performances of the Year

OperaWire — Mon, 16 Dec 2024 05:00:14 +0000

There’s been a lot of opera in 2024. And quite frankly, there’s been a lot of good opera.

So as has become our tradition, here is a look at some of OperaWire’s editorial team’s picks for their personal favorite performances of 2024.

Matt Costello: Act three of “Götterdämmerung” – Tanglewood

It’s always a tricky thing to think about one’s “Performance of the Year.” Especially challenging when there were a great number of remarkable performances – for which, at this end of year – I am certainly thankful.

But for this exercise, I used some helpful criteria. First, was it extraordinary? Obvious one that. Then: were all the elements of the performance at the same or similar wonderful level? And finally, is there something perhaps surprising about it….even unexpected? And with that, it was easy to make a choice. This year, during their always fantastic summer season, Tanglewood and the Boston Symphony Orchestra programmed Act three of Wagner’s tetralogy finale, “Götterdämmerung.”

Extraordinary? Well, the BSO, under Andris Nelsons, always hits that mark. And the performers, remarkable as well, led by Christine Goerke’s Brünnhilde and Michael Weinius’s Siegfried. But the entire ensemble was simply wonderful.

And the surprise? That in a summer concert series, people picnicking on the lawn, candles and bubbly often spotted, such a weighty piece was scheduled, and then pulled off. And with such intense drama…despite no sets and mostly minus props, and yet riveting. Totally compelling – and I say this having been to the mecca of Wagner performances, Bayreuth.

Bernardo Gaitan: “Il cappello di paglia di Firenze” – Teatro alla Scala

This is undoubtedly one of the best shows of 2024, showcasing a fresh revitalization of a little-known gem from the operatic repertoire. This hilarious contemporary farce by Nino Rota—a prolific yet often unperformed composer in the operatic realm—shone brightly in an impeccable production that perfectly captured the work’s light and sophisticated essence.

The true triumph lay in the extraordinary cast of young singers from the Accademia della Scala, who dazzled not only with their vocal prowess but also with their acting skills. They managed to master the complex art of comic timing, offering performances full of charisma and precision that fully convinced despite not having any famous names on the marquee, but only promising students.

Moreover, Teatro alla Scala brilliantly merged the nostalgic charm of this piece with a modern and dynamic staging, resulting in a vibrant and unforgettable experience. This production not only celebrated Rota’s operatic brilliance but also left audiences with an enduring smile.

Mike Hardy: “Andrea Chénier” – Royal Ballet & Opera

2024 was a wonderfully opera-enriched year for me, making it very difficult to pick a single outstanding moment. The amazing Aigul Akhmetshina performed two brilliant stagings of “Carmen,” at the ROH and at Glyndebourne and the incredible Aida Garifulina performed a breathtaking Violetta in the ROH’s “La Traviata.”

Alas, pride of place must fall to the ROH’s production of “Andrea Chenier.” It saw superstar tenor Jonas Kaufmann return to something like his former best after a series of illnesses, not least one which clearly rendered him struggling just two weeks prior to this performance when he took part in the concert celebrating 22 years of Sir Antonio Pappano at the ROH. But this night surely must belong to the wonderful Sondra Radvanovsky who sang the most heart-rending Act three aria, “La mamma morta,” where her character, Maddalena, recounts the death of her mother. Her genuinely tear-inducing rendition was made all the more poignant by virtue of Radvanovsky still mourning the loss of her own Mother in 2022. After the performance, she told me that the last time she had sung it, her mother had been in the audience, and that getting through the aria was a huge, personal struggle.

Alan Neilson: “Il Trionfo del Tempo e del Disinganno” – Göttingen International Händel Festival

By chance, all the best performances I attended during 2024 occurred over a couple of months during the summer. All were festival productions. It was a production of Händel’s oratorio “Il Trionfo del Tempo e Disinganno,” however, that stood out. The work, although being defined as an oratorio, has received many fully staged performances over the years, albeit with mixed results; the main problem is that its lack of physical action often leads to uninteresting, static productions. Göttingen’s Händel Festival opted for a concert performance, yet the innovative approach of director Ilka Seifert and Folkert Uhde’s staging managed to create a dramatically strong reading through the use of live intimate video projections that captured the emotional depths of the characters. There were no costumes or scenery, but it did not matter; the large screen behind the orchestra focused the audience’s attention on the emotions etched on the singers’ faces in a way that was far more convincing than one finds in a normal staged performance.

The four soloists, sopranos Anna Dennis and Emöke Baráth, countertenor Xavier Sabata and tenor Emanuel Tomljenovic, produced superb readings that captured the stunning beauty of Händel’s music while revealing the essence and emotional dimensions of their characters. The Festspielorchester Göttingen, under the masterful direction of George Petrou, produced a sensitive and exquisitely fashioned performance that brought out the work’s elegant beauty along with its full emotional charge. All the elements came together perfectly to create a truly memorable performance.

Jennifer Pyron: “El Niño” – The Metropolitan Opera

Metropolitan Opera debuted John Adams’s “El Niño,” with libretto based on original sources by Peter Sellars and John Adams, to a sold out house of past, present, and future opera goers on Tuesday, April 23rd, 2024. “El Niño” is unlike anything John Adams has done before and the historical timing of this debut is uncanny. This was his fourth work to be performed at Met Opera, including “Doctor Atomic” (2008), “Nixon in China” (2011), and “The Death of Klinghoffer” (2014).

History was made on this night because the majority of the cast made their own debuts, including director Lileana Blain-Cruz, conductor Marin Alsop, soprano Julia Bullock, baritone Davóne Tines, countertenors Key’mon W. Murrah and Siman Chung, set designer Adam Rigg, lighting designer Yi Zhao, projection designer Hannah Wasileski, puppet designer James Ortiz and choreographer Marjani Forté-Saunders.

Director Lileana Blain-Cruz’s dedication to building her own creative team took this production to the new heights that Met Opera dreams about, making this the best performance of 2024. Met Opera will debut John Adams’s newest opera in 2024-25, “Antony and Cleopatra” (2022), which also stars Julia Bullock in the titular role of Cleopatra.

David Salazar: “Ainadamar” – Metropolitan Opera

Some quick shoutouts to Lisette Oropesa in “La Sonnambula” in Rome and Benjamin Bernheim in “Roméo et Juliette” at the Met Opera – two of the most vocally exquisite performances I heard all year. After watching a rather shockingly messy opening performance of “La Gioconda” at Napoli, I was not looking forward to round two. But the team came together and delivered a true knockout, a testament to the beauty of live theater and the second chances it provides. Then there’s the cast of “Die Frau ohne Schatten” at the Met, a true miracle of modern opera. Finally, Teatro Grattacielo’s production of “Beyond the Horizon” was emblematic of how new opera can truly flourish an independent scale.

But as far as THE performance of the year… I saw three of them. And they were all “Ainadamar.” Every single one of these three shows was truly mesmerizing and special. All of them different experiences. All of them revelatory. If you wanted to show people what opera could be and is, this is the perfect piece with which to do it. Because it’s more than opera. It’s a work that pushes the boundaries of what the artform can do. An opera that is truly inclusive not only in its content but in its form – it is opera, theater, flamenco, experimental art, poetry, all wrapped into one. Given the times we live in, we need the Met to champion more works like this.

Francisco Salazar: “La Forza Del Destino” / “Die Frau Ohne Schatten” – Teatro alla Scala / Metropolitan Opera

Picking a best performance is always hard, especially when there are so many memorable performances in a year. How could I forget Lisette Oropesa’s show-stopping “Sonnambula” in Rome and Asmik Grigorian’s heartbreaking “Madama Butterfly” in her Met debut? And what about the amazing production of “La Gioconda” at the Teatro San Carlo directed by Romain Gilbert, who brought opera back to its glory days? And then there was Ailyn Perez and Lucas Meachem giving it their all at the Houston Grand Opera in “Il Trovatore.” And of course, there was Freddie De Tomasso’s Met debut as Cavaradossi. But the best of the year was by far “La Forza del Destino” at the Teatro alla Scala and “Die Frau Ohne Schatten” at the Metropolitan Opera, reminding us that there is still a golden age of singers and opera.

At La Scala, Riccardo Chailly led a skillful and heartfelt performance demonstrating the many colors of Verdi’s music while Leo Muscato gave us a production of Verdi’s work that connected many periods and showed how war is essentially similar no matter the time. Anna Netrebko demonstrated a sincere musicality that was enhanced by her expressiveness, especially in her arias “Son Guinta” and “Pace Pace Mio Dio,” while Ludovic Tezier gave us a Don Carlo that was both virtuosic in its technique but also musically incisive. Brian Jagde demonstrated some gorgeous high notes and true chemistry with his colleagues, while Vasilisa Berzhanskaya, Alexander Vinogradv, and Marco Filippo Romano were exceptional in their supporting roles

At the Met, Lise Lindstrom, Elza Van den Heever, and Nina Stemme were just spectacular as the trio of divas. Nothing could prepare you for the power of these voices and the naturalism they have for this repertoire. By contrast, Micahel Volle gave a subtle and moving performance as Barak, while Russell Thomas showed that he is a tenor to look out for in this repertoire. Ryan Speedo Green was fantastic in his role and Yannick Nezet-Seguin proved to be a worthy conductor of Strauss’ music. Finally, the production by Herbert Wernicke continues to be the masterpiece of the Met and the only production this season that really deserved an HD and sadly is still not recorded for the history books.

Rudolph Tang: “The Savage Land” – China Conservatory of Music

Rudolph submitted a video in which he explains why he loves “The Savage Land.”

John Vandevert: “Khovanshchina” – Berwaldhallen

My favorite performance of 2024 would have to be Berwaldhallen’s “Khovanshchina.” With a highly adept taste for sophistication, each and every one of the soloists performed with exceptional degrees of nuance and tact. However, the star of the night was undoubtedly Nadezhda Karyazina, a brilliant actress and singer who did not express empty gestures for the sake of drama, vocal or otherwise. A stupendous performance and one that was as marvelous as it was inspiring, it was my favorite of the year.

Mauricio Villa: “Adriana Lecouvreur” – Teatro Real

I had the unique opportunity of not only attending what I consider the best performance of the year, but one of those performances which will never be forgotten. What’s the reason of this magical theatrical achievement? The combination of two astounding artists who stole the show completely and electrified the audience.

I have said many times that due to her impressive characterizations and vocal portrayal I could never be sure if Jaho is an excellent opera singer with extraordinary acting skills or an impressive dramatic actress with a depurated vocal technique and a unique personal timbre. Elīna Garanča is just beautiful – her voice, her looks, her phrasing – making her one of the best mezzo sopranos of this generation. Her stage presence is hypnotic.

And despite all the difficult singing numbers the highlight of the performance was in Act three, when the countess (Garanča) is mocking and teasing Adriana (Jaho) with signs of indifference and hate, while Adriana stands up to this attack. There was ballet happening at the back of the stage, which was crowded with the choir and soloist, but the two female artists attracted all the attention. Furthermore, they were not singing, which is even more incredible considering they were performing an opera. It was just pure acting. The strong connection and the deep realistic interpretation is something rarely achieved and very difficult to see. The confrontation of these two theatrical monsters during the whole opera was magical, hypnotic, and moving.

Christina Waters – “Partenope” – San Francisco Opera

San Francisco Opera’s production of George Frideric Handel’s “Partenope” showcased the electrifying coloratura of French soprano Julie Fuchs. In a season of operatic hits, e.g. SFOpera’s “Carmen,” as well as misses, e.g. the Stefan Herheim “Der Ring des Nibelungen” in Berlin, the Partenope production was almost flawless. In elegant 1920s costuming, in visually playful performative hijinks, and in diamond-edged vocals giving fresh energy to this comedic caper by Handel. The updated Baroque creation, featuring a trio of lovers vying in stealthy fashion for the hand of the Queen of Naples, provided virtuosic trills, runs, leaps, and embellishments with apparent and impossible ease.

At the center of the manic stage action was Fuchs, elegant and sexy in the Armani-inspired suits and satins with which she wiped the floor with her many suitors. Fuchs was joined by a brilliant ensemble, notable Alek Shrader as a Man Ray-style photographer, and superb countertenor Italian countertenor Carlo Vistoli, who made his company debut a romantic package of physical drama and liquid velvet timbre. A resounding success in this, and any season.

The post Best of 2024: OperaWire’s Team on the Best Performances of the Year appeared first on OperaWire.

Artist of the Week: Aleksandra Kurzak

Francisco Salazar — Mon, 09 Dec 2024 21:21:59 +0000

(Credit: Grand Théâtre de Genève)

This week the Grand Théâtre de Genève is set to open a new production of Giordano’s “Fedora,” a rarely performed work that has become a showcase for a star soprano in recent years. This week Aleksandra Kurzak will sing her first Fedora, adding yet another demanding role to her growing diverse repertoire.

Over the past years, Kurzak has become a great exponent of the verismo repertoire singing the title roles of “Tosca,” and “Madama Butterfly,” Santuzza in “Cavalleria Rusticana,” Nedda in “Pagliacci,” Mimi in “La Bohème,” and Liù in “Turandot.” For her interpretations she has been praised with critics raving about “Kurzak’s impressive cavernous chest tones” and for being one of the “most physically agile sopranos.” She has also been praised for her commitment to each role and for “deepened emotional” portrayals. With Fedora, Kurzak will have yet another role where she will add her signature acting and vocal qualities to the role.

For those not Genève, the soprano returns to Warsaw for “Madama Butterfly” and “Tosca” and also makes her role debut “Aida” at the Arena di Verona. She also sings her signature Tosca in Berlin and Vienna.

Recordings

For those who want to see more of Kurzak, you can listen to her recording of “la Navarraise” as well as her latest album “Cornelie Falcon,” which features the soprano in a variety of different roles.

Here is a little preview of Kurzak as Fedora and as Tosca.

The post Artist of the Week: Aleksandra Kurzak appeared first on OperaWire.

Best of 2024: OperaWire’s Top Ten Rising Stars 2024

Francisco Salazar — Sat, 07 Dec 2024 06:07:02 +0000

(Credit: TACT/Askonas Holt/Intermusica/Natalia Jansen)

It’s that time of the year. The end of the year.

2024 brought many debuts, many new productions, many competitions, many world premieres and many new young artists who are coming up in the world of opera. And that it is reason alone to celebrate. As the year comes to an end, here’s a look at some of the young singers who saw their careers shine whether through competitions, festivals, or in some major production.

So without further ado, OperaWire presents its 10 rising stars for 2024 (in alphabetical order).

Eliza Boom

It’s been a whirlwind year for the Munich-based lyric soprano. Earlier this year, Eliza Boom won the prestigious Joan Sutherland & Richard Bonynge Bel Canto Award and won the first prize at the Elizabeth Connell Prize International Singing Competition at Wigmore Hall in London. She also competed at the Operalia competition in Mumbai where she continued to raise her profile as a young singer to watch and won the CulturArte Prize.

A native of New Zealand, she completed her Bachelor of Music at Vision College and later studied at the University of Waikato. She later studied at the Royal Northern College of Music and trained at the National Opera Studio in London. Boom later became a member of the Bayerische Staatsoper Opera Studio where performed in such productions as “Das Rheingold,” “Die Zauberflöte,” “Il Barbiere di Siviglia,” and Miroslav Srnka’s opera “Singularity.”

Boom has already performed with the Badisches Staatstheater Karlsruhe, Staatsoper Stuttgart, Royal Danish Opera, Staatsoper Hannover, and Royal Theater Carré. In this coming season, she is set to make her Paris Opera debut and will also return to New Zealand to perform with the symphony orchestra.

Matthew Cairns

This past year Canadian tenor was part of the Metropolitan Opera’s Lindemann Young Artists where he got to cover the role of Leonard in “The Hours.” He also participated in the Gerda Lissner Foundation’s International Vocal Competition where he took Judge’s Special prizes and the Belvedere Opera Competition where he received third prize and the International Media Jury Award.

But his year also took him back to the Canadian Opera Company where he was a studio member for many years.

Cairns has established himself over the past years as a rising star having been named on CBC’s 2019 “30 Hot Classical Musicians Under 30” and having won the 2022 Metropolitan Opera Eric and Dominique Laffont Competition. He was also a finalist in the 2022 Neue Stimmen competition and was the First Prize winner of the 2018 Canadian Opera Company Ensemble Studio Competition.

Upcoming engagements include Cairns’ Paris Opera debut in “Das Rheingold.”

Erika Grimaldi

Italian Soprano Erika Grimaldi has been hailed for her “beautifully floated pianissimos” and her “pellucid tone.” Her interpretations of Verdi and Puccini have brought her to many of the leading theaters in the world including the Teatro alla Scala, Teatro dell’Opera di Roma, Bayerische Staatsoper in Munich, Deutsche Oper in Berlin, Teatro di San Carlo in Naples, and Opéra National de Montpellier. Her repertoire is immense including such operas as “Tosca,” “Manon Lescaut,” “La Boheme,” “Ernani,” “Luisa Miller,” and “Il Trovatore,” to name a few.

In May the soprano had a breakthrough when she stepped in to perform the title role of “Tosca” at the Teatro Regio di Parma on short notice. The soprano received raves with critics noting, “hers is a highly internalized Tosca, strong in a wise expressive research and in an everywhere nuanced phrasing, therefore fully convincing also for that sweet and delicate voice of hers, homogeneous in all registers, well supported in the melodic arc.”

Coming up Grimaldi will make her highly anticipated debut at the Opernhaus Zurich in “Un Ballo in Maschera” and performances at the Welsh National Opera, and Teatro Carlo Felice.

Navasard Hakobyan

The Armenian baritone has been the toast of the competition circuit over the past two years. In 2023 he won the third Prize and Don Plácido Domingo Ferrer Prize of Zarzuela at the Operalia World Opera Competition and in 2024 he won the Metropolitan Opera’s Laffont Competition and the Dallas Opera’s National Vocal Competition. He also participated in the Queen Sonja Competition as well as the Academy’s Marilyn Horne Song Competition, and the Premiere Opera Foundation International Vocal Competition.

He also participated in the Salzburg Festival’s Young Singers Project and joined as a studio member at the Houston Grand Opera, where he won the 34th Annual Eleanor McCollum Competition for Young Singers in 2022. In 2023 he joined Askonas Holt for management and since then has already made debuts at the Houston Grand Opera and Dallas Opera. This season, he will make his house and European debut at the Semperoper Dresden Semperoper as Marcello “La bohème” and will sing Brahm’s Requiem with the Santa Barbara Symphony.

Hakobyan is a former member of the Young Artist Programme of the National Academic Theatre of Opera and Ballet in Yerevan, Armenia and was named the winner of the President of the Republic of Armenia Youth Prize in 2019.

Alasdair Kent

It’s been an incredible year for the Australian tenor, who has become an exciting voice around the world. Having graduated from the Academy of Vocal Arts in Philadelphia and trained at Opera Philadelphia’s Emerging Artist Program, Wolf Trap Opera’s Filene Young Artist Program, San Francisco Opera’s Merola Opera Program, and the Lisa Gasteen National Opera School, today, Kent is performing at every major opera house in the world.

He has been praised for his “refined technique and intense expressiveness” as well as “great clarity” of tone. He has also become known for his Bel Canto interpretations, especially Rossini as well as Mozart, Donizetti, and Bellini, and has already performed at the Wiener Staatsoper, Teatro Real Madrid, the Bayerische Staatsoper, Opernhaus Zürich, the Rossini Opera Festival, and the Festival d’Aix-en-Provence.

This past season saw the tenor at the Opernhaus Zürich, Orchestre National de Lille, Deutsche Oper am Rhein, Theater an der Wien, Stavanger Symfoniorkester, Teatro Massimo, and Festival d’Aix-en-Provence in important new productions exploring a range of classical, Bel Canto and modern music. Among those works were “Platee,” “Written on Skin,” and “Iphigénie en Aulide.” Coming up for the tenor will be debuts at the Opéra de Lyon and Teatro alla Scala.

Long Long

This past season Long Long made such a splash at the Dallas Opera that he received the 2023-24 Maria Callas Debut Artist Award for his interpretation of Roméo in “Roméo et Juliette.”

A native of China, Long Long has slowly built a prestigious career that has seen him win the Neue Stimmen competition and receive prizes at the Francisco Viñas Singing Contest, the Moniuszko Vocal Competition in Warsaw, and the Verdi Competition. He has also been a member of the Opera Studio of the Bayerische Staatsoper, the Salzburg Festival Young Singers Project, and Georg Solti Academy.

He has already performed at the Royal Opera House, Semperoper Dresden, Atlanta Opera, Glyndebourne Festival, Staatsoper Hamburg, Staatsoper Hannover, Dutch National Opera, and the Israeli Opera in numerous roles including works by Verdi, Mozart, Puccini, Gounod, and Donizetti.

Upcoming engagements include his debut at the Staatsoper Berlin as well as returns to the Deutsche Oper Berlin, Deutsche Oper am Rhein, Canadian Opera Company, Santa Fe Opera, and Bregenzer Festspiele, among others.

Masabane Cecilia Rangwanasha

It seems like the South African soprano has become one of the most sought-after young sopranos for her “golden color,” “sumptuous, plush sound, and floated high notes.” And earlier in 2024 she was recognized with the 2024 Herbert von Karajan Prize at the Salzburg Easter Festival as one of the up and coming artists of her generation.

Since winning the Song Prize at the 2021 BBC Cardiff Singer of the World Competition and is a current BBC Radio 3 New Generation Artist award, Rangwanasha has performed with many of the great opera companies in the world including the Washington National Opera, Opéra National de Bordeaux, Hamburg State Opera, and the Royal Opera House, which she also toured with to Japan.

She has also performed alongside the Chicago Symphony Orchestra, London Symphony Orchestra and Accademia Nazionale di Santa Cecilia. Her repertoire has been varied showcasing her voice in Verdi, Puccini, Mendelssohn, Vaughn Williams and Mahler, among many others.

And her career is sure to expand in the coming seasons.

Angel Romero

This past fall, Angel Romero announced himself to the world when he took home the Second Prize as well as the Zarzuela Prize in the 2024 Operalia competition. His lyric tenor shone in “Una Furtiva Lagrima” from “L’Elisir d’Amore.”

Originally from Houston, Romero completed his studies at Yale University and Houston Baptist University and later joined the Pittsburgh Opera as a Resident Artist where performed in productions of “Così fan tutte,” “Florencia en el Amazonas” and “Alcina.” He was also part of the Santa Fe Opera’s Apprentice Program.

Since then he has made debuts at the Opera Theatre of Saint Louis, Austin Opera, and Central City Opera. For his performances, critics have raved and said he has “A golden voice.”

As Romero’s career continues to grow, he has already made international debuts at the Wiener Staatsoper and De Nationale Opera, where he will perform again this season.

Mariangela Sicilia

When the Italian soprano Mariangela Sicilia took the stage of the Arena di Verona to open the 2024 season, she stunned with her gorgeous rendition of “O Quante Volte!” and “O Mio Babbino Caro” announcing herself as a major artist in the international world.

But before that performance, the soprano was already rising up having won third prize in Operalia in 2014 and winning the Premio Franco Abbiati on two occasions. She had already performed at major houses including the Teatro Real, the Dutch National Opera, Deutsche Oper Berlin, Salzburg Festival, Sydney Opera House, and Opéra de Monte-Carlo, among many others. In April she made her Teatro alla Scala debut in “La Rondine” premiering a new production after a 30-year absence and was among the stars to pay homage to Puccini at the famed Milanese theater.

Up next the soprano sings returns to the Teatro dell’Opera di Roma and the Teatro Comunale di Bologna.

Matilda Sterby

Swedish soprano Matilda Sterby has been a regular presence in her native country for a few years and has been praised for her resonant soprano. But in 2024, she had a career-defining moment winning the Birgit Nilsson Stipendium, an award that recognizes aspiring Swedish singers. She also won the Wilhelm Stenhammar International Music Competition further establishing her as a rising force in the opera world.

Sterby’s career has already led her to the Malmö Opera, Volksoper Wien, Hannover Opera, and Gothenburg Opera, where she had a breakthrough as Marenka in Smetana’s “The Bartered Bride.” She has also won the 2022 Hjördis Schymberg Award and recorded her first album for Naxos.

Upcoming performances will see her at the Volskoper Wien, Malmo Opera and Gothenburg Opera.

The post Best of 2024: OperaWire’s Top Ten Rising Stars 2024 appeared first on OperaWire.

Artist of the Week: Marcela Rahal

Francisco Salazar — Thu, 05 Dec 2024 19:03:54 +0000

This week the Teatro alla Scala opens its 2024-25 season with “La Forza del Destino.” The Dec. 7 opening is considered one of the most important evenings in opera as the opera will be streamed and broadcast live around the world and will feature some of the most important opera stars currently performing. It will also include a rising star, Marcela Rahal in the role of Curra.

A recent winner of the Concurso Tenor Viñas 2024, the Brazilian mezzo-soprano made her Teatro alla Scala earlier in the fall in “Il Cappello di Paglia di Firenze” and then stepped into the company’s “L’Orontea.” “La Forza del Destino” will be her first opening night with the company. Rahal spoke with OperaWire in anticipation of “La Forza de Destino.”

OperaWire: What is it like to perform on opening night with La Scala?

Marcela Rahal: Looking back at the little girl who could only dream of singing on the stage of Teatro alla Scala, it’s Mind-blowing to realize that this dream is no longer just a fantasy—it’s a reality! It’s happening! Performing on one of the most prestigious nights in the opera world is truly an honor. The atmosphere is electric, filled with an unparalleled level of artistry. While there’s an undeniable pressure, it’s paired with the thrilling excitement of the premiere. On that day, all eyes in the opera world are upon us, and with that comes the immense responsibility to deliver a performance that honors Verdi, our audience, and our fellow artists.

OW: What have you learned from working with such incredible artists at this famed house?

MR: I’ve always found great joy in watching others perform, and in this case, it was a true privilege to witness the exceptional talents of my colleagues in the cast of “La Forza del Destino.” From detailed work like how to honor the text with our intention to the technique of sustaining a wonderful Fiato through a long phrase, every moment was a masterclass in itself, and I have tried to always be there, even when I didn’t sing.

Observing these moments unfold around you is an experience unlike any other. What I learned extended beyond technique—they encompass knowing how to stand firm in your convictions, maintaining professionalism, being thoroughly prepared, and navigating difficult moments when things are beyond our control. Also, Something that made me very happy was realizing how kind and generous all my colleagues were, and it made me admire them even more.

OW: What does it feel like to work at La Scala and to grow your career there?

MR: The day of my audition at Teatro alla Scala, which also was my first time stepping onto that legendary stage, felt almost surreal. To think of all the amazing artists who have graced that stage and pit, who have poured their sweat and passion into it, and whose music still reverberates through its walls today—was almost overwhelming, but in a wonderful way. Oddly and Happily, I wasn’t nervous; I felt like a child on Christmas Day, eager with anticipation to finally sing on that stage!! There was a joy and gratitude within me so deep that the outcome almost didn’t matter at that point—it was worth everything.

Fortunately, the audition went great, and shortly after, I was offered two incredible productions: “Il Cappello di Paglia di Firenze” and “La Forza del Destino.” Then In September, another surprise, one night just before going on stage for “Il Cappello di Paglia di Firenze,” I received a call from my agent Sofia: Teatro alla Scala was asking if I could “jump in” for a role in the production of “L’Orontea,” because the mezzo who had originally rehearsed and sung the part had injured herself and could no longer continue. The catch? The premiere was in only 13 days, and I had never performed, studied, or heard the role before!! So, I took this challenge upon me and dove into learning the music. Just a day later, I was already rehearsing with the pianist and Robert Carsen on the stage with my colleagues. In the following days, it was all about memorizing the music, staging, and rehearsing as our general rehearsal approached. To be very honest, those two weeks were very stressful, but I believe I grew as an artist and musician by the same measure and the entire production team was incredibly supportive, doing everything they could to make my jump-in a success, and it was indeed such a great experience.

For those not in Milan, the opening night will be broadcast on Arte, Medici.tv, and Rai1, among many other television stations. Rahal is also set to perform “Die Fledermaus” at the Lucerne Theater and “Rigoletto” at the Santa Fe Opera.

Recordings

Here is a look at Rahal as “Carmen” at the Neue Stimmen competition and as Leonora in “la Favorita” at the Teatro Real.

The post Artist of the Week: Marcela Rahal appeared first on OperaWire.

5 Key Points to Enjoy the “Prima della Scala”

Francisco Salazar — Wed, 04 Dec 2024 18:28:04 +0000

(Credit: Brescia – Amisano © Teatro alla Scala)

The “Prima della Scala” is more than just an opera performance; it’s a quintessential Italian event that intertwines art, history, and tradition, captivating global audiences every December 7th. This year, Teatro alla Scala inaugurates its 2024/2025 season with Verdi’s “La Forza del Destino.” Here are five essential insights to help you fully appreciate this extraordinary occasion—whether you’re attending in person or tuning in from afar.

1. Why is the ‘Prima della Scala’ on December 7th?

For the first 150 years of La Scala’s history, the opera season traditionally began on Boxing Day (December 26), aligning with the Carnival Season when primarily serious operas were staged. The season would conclude just before the week of Carnival festivities. However, in 1951 Maestro Victor de Sabata introduced a new tradition: inaugurating the opera season on December 7th, the Feast of Sant’Ambrogio, patron saint of Milan. Since then, this date has become a cornerstone of Milanese culture, with the opening night serving as a cultural, institutional, and social highlight of the year.

This year’s title, Verdi’s “La Forza del Destino,” will be conducted by La Scala’s musical director, Riccardo Chailly, marking his tenth season opening at this iconic venue. Chailly will lead the 1869 version of the opera, revised by Verdi specifically for La Scala, based on the critical edition by Philip Gossett and William Holmes. The evening promises to be a memorable celebration for opera enthusiasts and cultural aficionados alike.

The production boasts a stellar cast of some of the most acclaimed voices in contemporary opera. Anna Netrebko takes the lead as Donna Leonora, alongside Brian Jagde, stepping in for Jonas Kaufmann, who recently canceled due to family reasons, as Don Álvaro. Ludovic Tézier embodies Don Carlo di Vargas, with Vasilisa Berzhanskaya as Preziosilla and Alexander Vinogradov as Padre Guardiano. Supporting roles are performed by Marco Filippo Romano (Fra Melitone), Fabrizio Beggi (Marchese di Calatrava), and Carlo Bosi (Mastro Trabuco). The creative vision for this production is helmed by stage director Leo Muscato, with set design by Federica Parolini, costumes by Silvia Aymonino, and lighting design by Alessandro Verazzi. This cohesive team aims to bring Verdi’s dramatic vision to life, blending tradition with modern artistry.

2. A rare manuscript: Insights into Verdi’s creative process

A historic discovery recently has captivated the opera world: the original manuscript of the libretto for the first version of the title. Written by Francesco Maria Piave in 1861 and extensively revised by Verdi himself, the document offers rare insights into the composer’s meticulous creative process. Featuring 85 handwritten pages with indications from Piave and a lot of red-pencil corrections by Verdi himself, it reveals significant changes to key scenes, including drafts of the first act and alternative versions of the iconic “Rataplan.” The manuscript highlights Verdi’s pursuit of clarity and brevity in his operas, as seen in his collaboration with Piave and his own dramatic instincts.

The manuscript, recently digitized to ensure its preservation, will be exhibited at the Theatre Museum until January 2, coinciding with La Scala’s performances of “La Forza.” In mid-2025, a facsimile edition of the manuscript will be published to make this invaluable resource accessible to scholars and enthusiasts, underscoring the lasting impact of Verdi’s artistry on the operatic canon.

3. A complex relationship with La Scala and the supposed curse of the title.

“La Forza del Destino” has a nuanced history with La Scala. On the positive side, it marked Verdi’s reconciliation with the theatre after years of estrangement. The revised 1869 version premiered at La Scala on Feb. 27 of that year, with Verdi himself overseeing the production. However, despite its grandeur, the opera has not been as frequently performed at this Milanese venue compared to other Verdi masterpieces. The last time “La Forza” opened a season at La Scala was in 1965 conducted by Gianandrea Gavazzeni, while its most recent staging was in 2001, a co-production with the Mariinsky Theatre under Valery Gergiev’s baton.

“La Forza” is often called a “cursed opera” due to a history of accidents and misfortunes linked to its performances. From its challenging premiere to various technical mishaps and even fatalities during productions, these incidents have fueled its ominous reputation. The opera’s dark themes of fate, tragedy, and death further reinforce the superstition, as its storyline mirrors the misfortunes associated with it. Additionally, theater lore and media sensationalism have amplified the “curse,” much like Shakespeare’s “Macbeth” in the theater world. Despite this, most of the so-called curse is likely coincidence or the result of staging challenges, adding an aura of mystique to this masterpiece that continues to intrigue audiences and performers alike. Let’s hope that nothing happens this year!

4. Distinguished Guests Expected

As is customary for such an illustrious occasion, the opening night will attract high-profile national and international figures. Traditionally, the President of Italy attends, but this year, President Sergio Mattarella has announced he will not be present, as he has accepted an invitation from French President Emmanuel Macron to attend the reopening ceremony of Notre Dame Cathedral in Paris, scheduled for the same day.

Meanwhile, Prime Minister Giorgia Meloni, who initially declined her invitation, is now expected to represent Italy’s highest office following Mattarella’s absence.

Confirmed attendees include Giuseppe Sala, Mayor of Milan and Chairman of La Scala’s Board of Directors, as well as Alessandro Giuli, the recently appointed Italian Minister of Culture. Among the prominent artists walking the red carpet will be tenors Plácido Domingo and José Carreras, soprano Raina Kabaivanska, and La Scala’s étoile, dancer Roberto Bolle. Tickets for the premiere, as well as subsequent performances, have sold out in all categories, from the orchestra to the upper galleries. Prices for the opening night are a testament to the event’s prestige, with seats costing up to €3,200!

5. Where to Watch?

For opera fans in Milan, numerous cultural venues, music schools, and theaters will host live broadcasts of the performance, accompanied by pre-show talks, listening guides, and related activities. For those outside Milan, the premiere will be broadcast live on Italian television via Rai1 HD, directed by Arnalda Canali, and will also be available on RAI-Radio3.

International viewers can access the performance through the RaiPlay app. The nearly four-hour-long broadcast, starting at 6:00 p.m. Italian time, will include subtitles and remain available for streaming on the app for 15 days after the premiere, free of charge. This ensures that opera lovers worldwide can experience the magic of Verdi’s masterpiece on one of the world’s most iconic stages. Here are other ways to watch and listen.

The post 5 Key Points to Enjoy the “Prima della Scala” appeared first on OperaWire.

Artist of the Week: Anne Sofie von Otter

Francisco Salazar — Fri, 29 Nov 2024 17:06:13 +0000

This week La Monnaie/De Mont is set to open the world premiere of Fanny and Alexander. The work is based on Oscar-winning film “Fanny och Alexander” from 1982. The work will include a commanding cast of 16 soloists many of them veterans and some newcomers. Among them are Anne Sofie von Otter.

Over the years, Von Otter has evolved her repertoire from Strauss and early works to performing more modern works. She has world-premiered such operas as Thomas Adès’ “The Exterminating Angel,” Sebastian Fagerlund’s “Höstsonaten,” and Mikael Karlsson’s “Melancholia”

Now she will create the role of Justina which was originally created in the film by Harriet Andersson. The work will combine the acoustic sound of a symphony orchestra with ingenious surround electronics which will once again stretch the mezzo’s virtuosic abilities and continue to showcase her versatility. Von Otter has been praised for her “sublime phrasing” and “beautifully enchanting” tone.

And for audiences who are not in Brussels for the new work, Mezzo Live and Medici.TV are set to stream the work at a later date. This season the legendary mezzo will also perform in Norway, at the Opera de Lyon, and the Oper Köln in the world premiere of Philippe Manoury’s “Die letzten Tage der Menschheit.”

Recordings

There are so many great recordings to choose from when it comes to Von Otter including an acclaimed “Ariadne auf Naxos,” “La Clemenza di Tito,” a Christmas album, and “Pelléas et Mélisande.”

Here she is performing Mahler Song Cycles.

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Opera Meets Film: A Look at the Many Faces of Wagner in Cinematic Past and Present

OperaWire — Thu, 28 Nov 2024 05:00:27 +0000

(Photo Credits: Photofest)

It’s no surprise that Richard Wagner’s music is a popular choice for cinematic moments of intense dramaticism, humor, horror, suspense, philosophical gravity, and pleasure. From the many comical moments in the 1957 Warner Bros’ film, “What’s Opera, Doc?,” Werner Herzog’s sobering 1992 documentary experience, “Lessons of Darkness,” the endearing 1930 film, “Fire At The Opera,” or the 1950 biofilm about the soprano Nellie Melba, “Melba,” finding Wagner’s music is hardly a needle in the haystack. Instead, it seems the natural step for any film looking to add subtext without lots of heavy lifting getting in the way. That’s where music comes in, a perfect resource!

Unfortunately, the diversity of choices seems, when looking at it in the abstract, thanks to the resources available, hardly diverse at all. As LA Times Jon Burlingame noted in 2010, one of the most famous examples of contemporary cinematic usage of Wagner’s music, specifically the “Ride of the Valkyries” from the eponymously titled second opera of Wagner’s tetradic epic, “Der Ring des Nibelungen” (or The Ring Cycle), is found in the helicopter scene from the 1970 film, “Apocalypse Now.” But what if I told you there are WAY more than one might think, so many in fact that documenting all of them would be impossible for one article alone, let alone a book.

Instead of going through each, from the most recent (Tár, 2022) to some of the earliest (The Birth of a Nation, 1915), let’s instead look at what music is used, what kinds of films use it, and what it possibly says about the attractiveness of Wagner’s musical-philosophical worldview. It is no surprise that Wagner’s ideals about the world are full of provocative and controversial perspectives and fans, from his anti-Semitism to “total work of art“ (colloquially, Gesamtkunstwerk, although Wagner hated the term), to his laudation by Nazi leaders, the presence of Wagner’s music in a film is hardly neutral but neither can it be considered purposefully political either.

However, the counterargument is the idea of separating the art from the artist, a topic whose central argument is that an artist can have done harmful things but their art stands above or not in opposition to their personal actions. Of course, as one Reddit user noted, “bad people do, however, make good art, and that they do bad things is not a mutually exclusive fact” but “we just can’t separate the art from the artist. This will always be a problem.” What to do, what to do. Can we enjoy Wagner’s music in films and stand aloof from the creator’s personal beliefs? Maybe it doesn’t matter or maybe it matters a lot. As the controversies around J. K. Rowling demonstrate, valuing art does not have to come at the expense of holding its authors accountable. Instead, personal fallibilities add depth to art.

A Tale of (Many, Many) Films

If you take a look at the Wikipedia page entitled, “List of films using the music of Richard Wagner,” you’ll find a lot of very interesting things. First, you’ll notice that most of the films seem to use the same music. Either its the “Ride of the Valkyries,” the glorious prelude to “Tristan und Isolde,” the “Siegfrieds Trauermarsch“ from “Götterdämmerung,” the famous prelude from “Parsifal,” or the overture to “Tannhäuser.” However, on the rare occasion it’s something else, you’ll find less common choices employed like music from Wagner’s early operas like “Rienzi” from 1838 or non-operatic literature like his WWV 103, or the symphonic poem, “Siegried Idyll,” based on the operatic character.

You would then notice that the film’s dates seem noticeably consistent, almost like using Wagner’s music in films is an industry standard as opposed to a creative quirk. There are a few names who repeat on the list, some being the Spanish director Luis Buñuel and German director Hans-Jürgen Syberberg. Other than these two, it is a rather eclectic mixture of names, from Americans like D. W. Griffith and Todd Field to more worldy figures like Werner Herzog, Yukio Mishima, Elem Klimov, and Baz Luhrmann. Thus, the attraction to Wagner is hardly located in one country but seems something universal, as if Wagner’s music speaks to themes and topics which strike up relationships with other concepts, from Schopenhauer philosophical pessimism to the law of fate and destiny.

Some of the early 20th-century films like Rouben Mamoulian’s 1930 film, “City Streets,” an altruistic crime drama, Leni Riefenstahl’s 1935 Nazi propaganda film, “Triumph of the Will,” and Harold French’s 1942 spy lovestory, “Secret Mission,” ironically, all use music from the same opera, “Die Meistersinger von Nürnberg.” One of the earliest films to use “The Ride of the Valkyries” was the 1935 film, “R.A.F.” by Gaumont-British Picture Corporation. Later, in 1936, “Tarzan” writer Edgar Rice Burroughs would try his hand at using the iconic music in his 1936 film, “The Lion Man.” After WWII, one would think Wagner’s music would become more, not less, controversial and used but instead, the opposite happened. After 1945, the use of Wagner’s music in films skyrocketed considerably.

Jean Negulesco, director of “Titanic” (1953), led the charge with his iconic 1946 film, “Humoresque,” followed by iconic films like the 1957 film starring Audrey Hepburn, “Love in the Afternoon,” the 1972 historical drama, “Ludwig: Requiem for a Virgin King,” and the 1981 Medieval fantasy, “Excalibur,” my personal favorite. During the 2000s, the trend continued but the kinds of films radically diversified. The 2005 film, “The New World,” directed by Terrence Malick could be considered one of the new directions in American cinema’s relationship with Wagner, now bringing the narrative and usage of Wagner back home and as topical as ever. In recent years, “Army of Thieves” (2021) and “Promising Young Woman” (2020) have reignited Wagnerian music’s lighter side, comedies being the new direction.

So, here we are in 2024, and the legacy of Wagner’s music is as robust as ever. Will there ever be a time when his music is NOT a favorite among directors? Probably not. In any case, let’s relax until the Valkyries come in and the ring is given back to the Rhein (PS: You’ll know it has been returned when the world comes crashing down).

Listen

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Artist of the Week: Anita Rachvelishvili

Francisco Salazar — Wed, 20 Nov 2024 16:41:00 +0000

On Nov. 20, the Teatro San Carlo is set to open its 2024-25 season with a new production of “Rusalka.” The company has assembled an all-star cast including Asmik Grigorian and Adam Smith, among many other notable names. But the evening is even more special as Georgian Mezzo superstar Anita Rachvelishvili will make a return to the opera stage.

After months of cancelations due to vocal issues and several concert performances, Rachvelishvili will make her return to the opera in her role debut as Jezibaba. It’s a departure from the mezzo’s core repertoire who has become well known for her work in Verdi, verismo, and especially her Carmen. She has been hailed for her “sonorous voice,” and “impressive expressiveness.” Jezibaba is a role that plays to Rachvelishvili’s acting strength and of course her enormous and luxurious mezzo voice.

And for those not in Napoli to witness the mezzo’s stage return, La Rai will broadcast the opening night. Later in the season, Rachvelishvili will return to the Arena di Verona for her iconic “Carmen.”

Recordings

For those wanting to revisit the mezzo’s discography, Rachvelishvili has recordings of “Aida” and “Prince Igor” from the Metropolitan Opera and “Cavalleria Rusticana” under Riccardo Muti. There is also a “Carmen” from the Metropolitan Opera and the Teatro alla Scala.

Here is a preview of “Rusalka” and a look at her Santuzza in “Cavalleria Rusticana.”

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Met Opera General Manager Peter Gelb Takes Another Shot at Critics in NY Times Editorial on Making Opera New Again

David Salazar — Mon, 18 Nov 2024 01:43:57 +0000

(Credit: Jonathan Tichler / Met Opera)

“After 18 years running the Met, and a lifetime of experience in classical music and opera, it’s clear to me that the solution to sustaining opera is through artistic reinvention, both with new operas by living composers, and reimagined productions of classics that can resonate with audiences of today.”

So writes Met Opera General Manager Peter Gelb in his new editorial “How to Save Opera in America? Make it New Again” in The New York Times.

The statement itself makes a lot of sense, even though it adds little new to the table (and given his 18 years of running the Met, the fact this discovery has led to him having to make the historically infamous move of pulling from the Met’s endowment makes you wonder how much that knowledge has helped him to this point). The two main pillars of Gelb’s thesis are actions already being taken across the world.

Europeans having been re-imaging productions for decades and other companies in the U.S., as Gelb himself notes, have been championing works by contemporary composers.

Gelb is quick to note in his piece that new opera has been at the core of the American opera experience and credits “David Gockley, the visionary former leader of the Houston Grand Opera and later the San Francisco Opera, who commissioned 45 new operas, including Adams’s ‘Nixon in China.’ Smaller companies like American Modern Opera Company, Opera Philadelphia and Beth Morrison Projects have followed suit, winning new and younger audiences with modern compositions.”

He notes that the Europeans have been more cautious with new opera, but commends companies like “Vienna’s Volksoper, which recently presented the world premiere of ‘Alma,’ an opera about the life and loves of Alma Mahler, are taking more creative risks.”

But then the piece takes a turn when the Met Opera leader decides to bring in his new narrative crutch.

“Many companies, including the Met, are still trying to recover from the losses of the pandemic,” Gelb wrote.” “We are fighting to survive economically (our European colleagues are better off with substantial government funding), regain our artistic footing and secure new audiences and donors. This is particularly difficult to accomplish because for decades there has been resistance to substantial artistic change from administrators, academics and critics.” (Emphasis is mine).

This is where I take issue with the piece. Because it isn’t some valedictory statement to move forward but a veiled chastisement of the people he feels aren’t lining up with his agenda or treating his projects fairly. Otherwise, why even write the piece and give it such a negative bent?

“I arrived at the Met in 2006 with plans to re-energize its audience engagement through new productions of the classics and new operas, but I had to take it relatively slowly or risk shocking our longstanding subscribers and patrons. It wasn’t until we were shut down during the pandemic that I seized the moment for some wholesale change,” he writes before then noting recent accomplishments. Again, he sets up a statement of intent, but needs to find a way to throw those who oppose him, i.e. critics, to the curb.

“I can attest that these operas resonate with audiences. They respond with excitement and emotion. Critics, not surprisingly, are not always enthusiastic,” he writes (the “not surprising,” unsurprisingly gratuitous). “Reviews of new, unfamiliar work can be mixed, negative or at times dismissive. But history has proved time and time again that the status quo on artistic works is often wrong. When Puccini’s ‘Madama Butterfly’ had its premiere at La Scala in 1904, it was a critical flop.”

(One would think that with extensive experience and endless wisdom as the head of a major opera company that Gelb would not forget to remark that “Madama Butterfly” underwent revisions before becoming the hit it is today. The version the Met presents isn’t that 1904 premiere version. There were other operas that flopped and became renowned that would have been more adequate examples for his argument. This is disappointing given the resources and information a man in his position and with his experience would have in this regard.)

I won’t address the “operas resonate with audiences,” because ticket sales tell a different story, though admittedly, not the complete one. But it’s in his undermining of critics where Gelb’s entire argument implodes.

First off, a lot of operas have failed with critics initially before rewriting history. In fact, a lot of art has. Nothing new here. But how it happens is also important. As Gelb notes, companies like Beth Morrison Projects put out a lot of new work. Some of it gets amazing reviews and goes on to notable runs. Other works don’t quite have that impact. That’s also nothing new because not every single piece will be a slam dunk. And a company, like Beth Morrison Projects, for example, knows this and takes those risks regardless, because next year, they will continue to successfully do this. And opera benefits from it on the whole because new work and its creators are allowed to flourish in this environment. Creative risks are supported and championed. What we need are more companies with that model and approach.

That’s not the case with the Met and I can actually understand where Gelb is coming from here. There’s a ton of money invested in new productions and with that, the risk involved is heightened. Every opera HAS to justify its existence. It has to be successful. Otherwise, the money needs to be allocated differently. That’s just business.

But art doesn’t always work within the parameters of business and here’s where Gelb’s lack of understanding is frustrating. He seems to want people to only understand the business aspect of it and to just congratulate the Met for trying and give it a pass every time.

But the reality is that not every opera is a hit. Nor is every opera good. To pull from his playbook in this article, opera history has shown that of the thousands created, only about 100 (and that’s generous) works remain staples of the standard repertory. And that’s because a lot of them are simply not at the same level and don’t merit that investment. Gelb himself, as an administrator, wouldn’t bank on operas that are not of an acceptable level, regardless of the composer.

So the same goes here. Not every new opera is going to be good, just because you spent millions on it. And even if you believe in every fiber of your being that it is, a lot of people won’t agree with you. Just ask Hollywood. And there, you rarely see executives savaging critics for destroying a film before opening weekend, gutting its chances in the process. At least the critics aren’t publishing reviews based on dress rehearsals of an opera (though for a lot of second runs of revivals, that’s what we’re getting with the first official performance).

Not everyone gets a participation trophy and not everyone gets a pat on the back for spending a lot of money and trying. Even if you put all your eggs in a few baskets, there will be a few cracked ones.

The crazy thing is, this all seems reactionary to “Grounded’s” reception. Because otherwise, reviews for “Ainadamar” were positive. Ditto for “Fire Shut Up in My Bones.” And “Florencia en el Amazonas.” And “X: The Life and Times of Malcolm X.” And “The Hours.” I could keep going. In fact, I will. Per Show-Score, 62 percent of “Grounded’s” 21 reviews were positive with only 14 percent labeled as negative. As always with these aggregators, discretion and interpretation is necessary, but clearly “Grounded” wasn’t seen as a flat-out bomb by most.

Moreover, the Met’s marketing department makes ample use of critics’ comments when they are positive. Exhibit A on the company’s Instagram account:

And if you go to the Met Opera lobby and check out the new screens hanging by the box office, you will also often find critics’ positive reviews displayed.

So let’s be clear, the critics aren’t trying to stop the Met’s progress or new opera’s progress. In fact, we applaud it. When we love it, we lavish tremendous praise on it.

Here’s how I concluded the introduction to my review of “Ainadamar:”It’s opera, but it’s so much more than that. It pushes the boundaries of what an operatic theatrical experience can be. As I sat there experiencing it for the first time on Saturday, Oct. 19, 2024, I could not help but feel that I was witnessing something I’d never seen before on that stage.”

And other critics have shown similar enthusiasm for other new works.

Meanwhile, Gelb’s reaction to negative reviews in a sea of positive ones and his decision to dress up a positive piece in the most influential newspaper in the world as a means of blaming others for slowing things down is troubling. If we want to save opera in America, dividing people into a me versus them attitude does no one favors. It does the complete opposite.

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