Yet it is not exactly the feel-good opera advertised in Pentatone’s press release; rather, the eponymous Mr. Chips – “the teacher we all wish we’d had” – is a painfully grieving figure, an anachronism of sorts, happily projecting his nostalgia onto the devastating realities of the 20th century and its incumbent wars. A product of Old Europe, he does not belong in a world that has drastically outpaced his Victorianist ideals, let alone his antiquated sense for the Latin pronunciation of “Cicero.” Humor saves him from obliteration, but Mr. Chips is, in essence, of the same stripe as Korngold’s Paul in “Die tote Stadt” – someone who just can’t let go.

Not Letting Go

As his own librettist, Gordon Getty adjusts the plot to, essentially, operatic needs. The action is split into a frame story, and a metadiegetic level of Chips reliving his own memories. It oscillates between his 85-year-old self and episodes from his youth, most notably the tragically ending marriage to Kathie Bridges.

Evidently, the staging of embedded narratives is tricky. But on CD, the layering of storylines proves quite compelling, their friction, so to speak, adding to the main character’s psychological complexity. Kathie in particular is the driving force behind any of Chips’ actions. After her premature death, Chips projects the memory of her onto his very own idiosyncrasies, as when he reacts to his students’ pranks: “How Kathie would have laughed!”

“It was as if Kathie had become a part of him,” the ever so sympathetic Dr. Merrivale comments. Again, one distantly senses the echo of Paul’s pathological remembrance of Marie. Even the doppelgänger motif is of note, with the soprano being required to sing the double role of both Kathie and Linford. But overall, Getty does not draw the drastic consequences of Erich Wolfgang Korngold.

A Class Act

The music very much aligns with Getty’s professed self-assessment of being “two-thirds a 19th century composer.” It comfortably stays committed to the tonal language of the pre-avantgarde, though the deployment of chromaticism and an usual array of instruments make for a gently modernist touch to the score.

The piano, for instance, is something of a psychological barometer. It rises to prominence in the sombre keys played after Kathie’s death. At the same time, its syncopated rhythms, together with the strings, effectively cadence the flow of the narrative which, for the frame story especially, relies on the conversational, and relatively fast-paced nature of the libretto.

Getty thus sets the tone for a chamber-like intimacy, far from the grand gestures of full-scale Romanticism or the transitional styles of the early 1900s. Accordingly, the orchestra boasts a reduced brass section but, in a modern twist, expands on the percussion. The result is a somewhat theatrical, if not cinematographic feel casting the orchestra into an subtly devised mood-painting role.

Farewell, Mr. Chips

The Pentatone recording relies on the unmitigated enthusiasm of its principal singers.

First and foremost, Nathan Granner is a stunningly charismatic Mr. Chips, phrasing vividly yet coating every expressive nuance with his recognizably honeyed tenor sound. The absence of any self-contained arias may not do justice to his mere vocal skills; but his interpretive acuity asserts itself in many places, most notably perhaps in the extended lyrical solo of “I’m afraid that six Brookfeldians have died this week.” Standing in the chapel, Chips reads the names of Brookfield alumni killed on the Western front when an air raid siren suddenly goes off, and explosions are heard. The scene masterfully crescendoes into the boys’ choir chiming into the already cacophonous soundscape, and Nathan Granner’s solemnity is increasingly interspersed with quivering moments of anxiety.

Granner finds his equal in Lester Lynch’s wonderfully empathetic Dr. Merrivale who, in the novel, is a secondary character at best; yet with Gordon Getty, he assumes the primary function of being the narrator. Though the part does not call for vocal extravaganza, it requires sustained gravity, malleable diction, and a pitch-perfect sense for dramatic timing. Lynch provides all of the above, and his characteristically fast vibrato adds an air of venerability to the kind doctor.

Finally, Melody Moore’s interpretation is pivotal to the drama’s strong emotional impact. Her role, and especially the ariose “Chips, darling, it’s started,” are Getty’s most traditionally operatic creations per se, with her long monologue arching into ethereally sustained tones, and a resounding climax. The American soprano’s often diaphanous voice is also apt to suggest an otherworldly presence; after all, Kathie makes ghostly comebacks until the opera’s grandiose finale in Act two.

An All-American Affair

An all-American affair, “Goodbye, Mr. Chips” is further enlivened by the irreproachable performances of Kevin Short in the double role of Ralston and Rivers. But only thanks to the remarkably warm colors drawn from the Barbary Coast Orchestra does Gordon Getty’s quirky schoolteacher emerge whole from what could easily be perceived as a somewhat fragmented compilation of tangentially related episodes. Conductor Dennis Doubin is not to be rushed, and one readily appreciates every bit of patiently shaped melody, whether instrumental, vocal, or in conjunction with the stirringly glorious San Francisco Boys Chorus.

“Mr. Chips” escapes every attempt at conventional categorization. Despite its modern facture (with some limitations), its two-hour run betrays a deeply felt nostalgia for things well beyond the scope of opera. Chips’ death scene, in particular, is transcended by some life-long yearning for a world sadly gone by. Gordon Getty conjures the memory of it.

The post CD Review: Gordon Getty’s ‘Goodbye, Mr. Chips’ appeared first on OperaWire.

Born in Tel Aviv, Israel, Kaplan was the son of Shlomo Kaplan, a prominent choral conductor and music pedagogue in Israel. He taught at the Jerusalem Academy of Music and was head of the music department of the Histadrut.

Abraham Kaplan first sang under his father in a young boys’ choir and became the leader of a choir at a kibbutz. He would go on to study at the Israel Academy of Music in Jerusalem and made his professional debut directing the Kol Yisrael chorus in 1952 at concerts in Jerusalem, Haifa, and Tel Aviv.

In 1954, he came to the U.S. where he won a scholarship from the Aspen School of Music and later went on to study at the Juilliard School where he was awarded the Damrosch Prize.

He also attended the Berkshire Music Center at Tanglewood as both a choral and an orchestral conductor.

His big break came in 1962 when he made his American debut as a choral director and conductor. He subsequently gained recognition as a composer as well.

While he returned to Israel, he decided to remain in the United States when Juilliard invited him to join its faculty as director of choral studies, a position he held with distinction from 1961 until 1977.

Kaplan would collaborate with such renowned conductors as Leonard Bernstein. His collaboration with Bernstein and teh New York Philharmonic saw Kaplan prepare choruses for numerous concerts and recordings—including the premieres of such major Bernstein works as the Kaddish Symphony and Chichester Psalms.

He also conducted important premieres of choral-orchestral works, such as Robert Starer’s Joseph and His Bretheren, Vincent Persichetti’s Stabat Mater, and George Rochberg’s third symphony.

He also founded the Camerata Singers and directed New York’s Collegiate Chorale. He also worked with the Symphonic Choral Society of New York and the Camerata Symphony Orchestra, the Israel Philharmonic, the St. Louis Symphony, the Calgary Philharmonic, the San Francisco Opera, and the Seattle Symphony.

In 1977 he relocated to Seattle and directed choral studies at the University of Washington. He also became an associate director for choral activities of the Seattle Symphony.

Kaplan was also a recognized composer who wrote such pieces as “Glorious,” “Arvit l’shabbat,” and the K’dusha Symphony, which was recorded with soprano Roberta Peters.

The post Obituary: Choral Director & Composer Abraham Kaplan Dies at 92 appeared first on OperaWire.

Zingari 

Opera Rara releases its recording of Leoncavallo’s “Zingari” internationally via Warner Classics. Artistic Director Carlo Rizzi conducts the restored original version of the opera as it was first heard over 100 years ago. Recorded in the studio prior to a performance at London’s Cadogan Hall with the Royal Philharmonic Orchestra, the opera stars Krassimira Stoyanova in the role of Fleana, Arsen Soghomonyan as Radu, Stephen Gaertner as Tamar and Łukasz Goliński as Il Vecchio.

Croisette: Opérettes des Annees Folles

Taking its name from la Croisette, the beachside boulevard in glamorous Cannes on the Côte d’Azur, this album evokes the fun-loving 1920s. It takes a trip around opérettes, French musical comedies of the era, composed by Maurice Yvain, Henri Christiné, Moisés Simons, Reynaldo Hahn, André Messager and Raoul Moretti. Joining the Orchestre national de Cannes and its music director, Benjamin Levy, are eight leading French singers, all admired in opera: sopranos Patricia Petibon, Amel Brahim-Djelloul and Marion Tassou; mezzo-soprano Pauline Sabatier; tenors Philippe Talbot and Rémy Mathieu; baritone Guillaume Andrieux, and bass-baritone Laurent Naouri.

The Lost Birds

Decca Classics releases two-time Grammy winning composer Christopher Tin’s latest album, “The Lost Birds.” The new album features the Royal Philharmonic Orchestra and renowned vocal ensemble VOCES8.

Mass of the Americas

Cappella Records releases Frank La Rocca’s Mass of the Americas (Misa de las Américas), performed by the Benedict XVI Institute’s Choir and Orchestra, directed by renowned international conductor Richard Sparks. The work extends the genre of the Missa Solemnis: a sublime setting of a traditional Latin Mass for choir and orchestra.

Schubert: Schwanengesang

Tenor Ian Bostridge completes his Pentatone trilogy of Schubert song cycles with a rendition of “Schwanengesang,” together with the late pianist Lars Vogt. “Schwanengesang” was compiled and published after Schubert’s death, and the pieces are literally among his swansong.

In a statement, the recording company said, “Pentatone is very grateful that Vogt managed to make this recording despite a serious medical condition and Sadly, he eventually did not live to see the album’s release.”

Gordon Getty: Goodbye, Mr. Chips Highlights

Gordon Getty’s new opera, reimagined for film, is based on the popular 1934 novella “Goodbye, Mr. Chips” and other stories by James Hilton. Goodbye, Mr. Chips tells the story of a teacher at Brookfield, an all-boys English boarding school to which “Chips” dedicates most of his adult life. The film chronicles Chips’ story of love, loss, and learning over his decades-long tenure at Brookfield. This EP features some of the opera’s greatest arias and scenes, including its profoundly moving finale.

The film stars Nathan Granner in the titular role of Mr. Chips, Marnie Breckenridge singing Kathie and Linford, Lester Lynch as Merrivale, and Kevin Short as Ralston and Rivers. The orchestra is conducted by Nicole Paiement. Members of The Young People’s Chorus of New York City, conducted by Founder/Artistic Director Francisco J. Núñez, represent the boarding school’s students.

Gustavo III

Dynamic is set to release Verdi’s “Un ballo in maschera.” The production, which premiered in 2021 was originally conceived by Graham Vick and ended up being directed by Jacopo Spirei. The production from the Verdi Festival starred tenor Piero Pretti in the title role and soprano Anna Pirozzi as Amelia, soprano Giuliana Gianfaldoni as Oscar, and mezzo Anna Maria Chiuri as Ulrica. The baritone Amartuvshin Enkhbat sings the role of Anckarström.

Roberto Abbado leads the Chorus of the Teatro Regio di Parma and the Filarmonica Arturo Toscanini.

The post Anna Pirozzi, Ian Bostridge, Lars Vogt & Krassimira Stoyanova Lead New CD/DVD Releases appeared first on OperaWire.

The showcase, which will take place at PianoFight in San Francisco, will star Breanna Sinclaré, Rahzé Cheatham, and Reuben Zellman.

The artists will perform a variety of repertoire ranging from baroque classics to Puccini as well as the music of local San Francisco Composers.

The event will be hosted by Afrika America.

Sinclairé is the first transgender person in the San Francisco Conservatory’s opera program. Sinclairé has appeared with the San Francisco, Washington D.C. and Los Anglees Gay Men’s Choruses and the Against the Grain Theater. Sinclairé will also appear in “Hansel und Gretel” with the Berlin Opera Academy.

Cheatham has performed with the Sanctuary Choir of First and Franklin Presbyterian Church while Zellman has appeared with the Handel Opera Project and the Grace Cathedral Choir of Men and Boys.

The post Opera Parallèle & Transgender District to Present ‘Expansive – A Showcase of Transgender and Agender Classical Artists’ appeared first on OperaWire.

This new work is based on the 1934 novella of the same name, along with other works by James Hilton. The story follows a teacher at Brookfield, an English boarding school to which Mr. Chips dedicates most of his adult life, with themes of love, loss, and learning.

Originally planned as a fully-staged production, the work was reimagined as a film in the wake of Covid-related cancellations. The film, directed by Brian Staufenbiel, was shot on a live set in San Francisco while the boys were captured as projections in New York City, with the main cast, orchestra, and chorus all being recorded separately.

The cast features Nathan Granner in the title role, with Marnie Breckenridge as Kathie and Linford, Lester Lynch as Merrivale, and Kevin Short as Ralston and Rivers. The orchestra of San Francisco Bay Area Players is conducted by Nicole Paiement, with members of The Young People’s Chorus of New York City conducted by Francisco J. Nunez.

The premiere will be held at the Walter Reade Theater in New York City’s Lincoln Center.

The post New York City Opera & Festival Napa Valley Partner for World Premiere of ‘Goodbye, Mr. Chips’ appeared first on OperaWire.

Anima Aeterna

Countertenor Jakub Józef Orliński brings his latest album to Erato, showcasing an adventurous album of sacred arias and motets from the 18th century. The album follows in the vein of Anima Sacra with this new album featuring music by Zelenka, Handel, Fux, and the little-known Gennaro Manna, Francisco António de Almeida, Bartolomeo Nucci and Davide Perez. Joining Orliński in Zelenka’s sparkling ‘Laetatus sum’ is soprano Fatma Said.

Francesco Corti conducts the orchestra and chorus of Il pomo d’oro. Digital copies will be available a week before its physical release.

Jonas Kaufmann: It’s Christmas! Extended Edition with Seven New Songs

Sony Classical has announced its intention to release an extended edition of Jonas Kaufmann’s holiday album “It’s Christmas.”

The album, which was released in 2020, will now feature seven new songs. Audiences will be able to pick up their copy on Oct. 29, 2021.

The new tracks include “Trois anges sont venus ce soir,” which was brought to Kaufmann’s attention by friend and colleague Ludovic Tézier.” Other new songs include “Der englische Gruß,“ “Auf, ihr Hirtensleut,“ “Als Maria übers Gebirge ging,“ “Zu Bethlehem geboren,“ “Jetzt fangen wir zum,“ “Singen an,“ and “Mariä Wiegenlied.“ These latter six tracks will feature Stefanie Irányi in original “Stubnmusi“ scoring for dulcimer, harp, violin, clarinet, and double bass.

“The wonderful success of my first Christmas album, and the pleasure that it gave not just me personally but others, too, has lured me into returning to the studio this year to pay tribute to another holiday musical genre – intimate ‘Alpine Stubnmusi – that for someone like myself, who grew up in Bavaria and Tyrol, invariably evokes the holiday spirit,” said Kaufmann in a press statement.

The Knights Before Christmas

Bright Shiny Things releases “The Knights Before Christmas,” a world-premiere recording of holiday music from numerous genres performed by cutting-edge Brooklyn orchestral collective The Knights. Guest performers include Wu Man, Anthony Roth Costanzo, Magos Herrera, Krystle Warren, I’m With Her, and Gaby Moreno. All but one of the arrangements are by members of the orchestra.

“As families and friends gather around the fireplace this holiday season, (made audible in the warm nostalgic glow on the final track of the album, Vince Guaraldi’s iconic Christmas Time is Here), we hope that this truly homegrown Knights album makes space for both the introspection and celebration that this time of year invites. Acknowledging the difficulties that everyone has gone through over the last couple of years, we collectively felt that now was the moment to invest The Knights’ time and energy in something that could truly bring people hope, comfort, and light.”

Maria & Maddalena

The second PENTATONE album for soprano Francesca Aspromonte explores the Two Marys in oratorios by Lulier, Bononcini, Leopoldo I d’Asburgo, Caldara, Perti, Handel, and Scarlatti. The soprano performs alongside violinist Boris Begelman as well as the seasoned players of I Barocchisti under the baton of the eminent Diego Fasolis.

In a statement, Aspromonte said, “Day and night, brunette and blonde, sacred and profane love, old and young… mother and prostitute: the Virgin Mary and Mary Magdalene. We grow up certain of their differences, comforted by that ancient story so familiar to us, of which we know every detail and every character. But if we listened to their story through music, we could discover what makes them similar. Two women.”

New Jewish Music 

The Azrieli Foundation and Analekta release New Jewish Music, Vol. 3 – Azrieli Music Prizes, featuring the world premiere recordings of works by the 2020 Azrieli Music Prize (AMP) laureates.

The album features Keiko Devaux (The Azrieli Commission for Canadian Music), Yotam Haber (The Azrieli Commission for Jewish Music) and Yitzhak Yedid (The Azrieli Prize for Jewish Music). The three are performed by Nouvel Ensemble Moderne under the direction of Lorraine Vaillancourt. Soloists include Mezzo-soprano Krisztina Szabó and Sharon Azrieli.

Hulda 

Naxos releases César Franck’s “Hulda” recorded in Freiburg in July and October 2019. The cast is headed by soprano Meagan Miller and tenor Joshua Kohl. Fabrice Bolton leads the Opern- und Extrachor des Theater Freiburg and the Philharmonisches Orchester Freiburg.

Das verratene Meer

Capriccio releases Hans Werner Henze’s opera from the Wiener Staatsoper. Conductor Simone Young leads the Vienna Philharmonic with Bo Skovhus, Vera-Lotte Boecker, and Josh Lovell.

Petite Messe Solennelle

Arcana releases Rossini’s Petite Messe Solennelle in its original version for four vocal soloists, small chorus, two pianos, and harmonium. Conductor Giulio Prandi leads the new critical edition of the score published by the Fondazione Rossini in Pesaro, with pianists Francesco Corti playing an 1838 Érard and Cristiano Gaudio an 1855 Pleyel, and Deniel Perer on a vintage Alexandre harmonium. Soprano Sandrine Piau, mezzo-soprano José Maria Lo Monaco, tenor Edgardo Rocha, and bass-baritone Christian Senn perform as soloists.

Unsung Heroes 

Pentatone releases Handel’s “Unsung Heroes” with David Bates leading the La Nuova Musica. Soloists include soprano Lucy Crowe, mezzo-soprano Christine Rice, and countertenor Iestyn Davies.

Der Rosenkavalier

Opus Arte also releases Strauss’ “Der Rosenkavalier” from the archives in a production by Oscar-winning film director John Schlesinger. Filmed in 1985, it marked the 25th anniversary of Sir Georg Solti’s debut at Covent Garden and Dame Kiri Te Kanawa as The Marschallin. The performance also includes Anne Howells, Aage Haugland, and Barbara Bonney.

Bold Beauty 

The post Kiri Te Kanawa, Jonas Kaufmann & Jakub Józef Orliński Lead CD/DVD Releases appeared first on OperaWire.

A number of orchestras and opera houses have announced cancellations due to the coronavirus.

The Boston Symphony Orchestra announced that it was canceling all performances at Symphony Hall from Friday, March 13 through Saturday, March 28.

Meanwhile, the Nashville Opera announced the cancellation of performances of its children’s opera, scheduled for Sunday, March 15 and 20 at Akiva School and Belle Meade Plant.

The Boston Lyric Opera announced that it was canceling its production of “Norma” while the San Diego Opera suspended performances until the end of March.

The Lyric Opera of Kansas announced that following the City of Kansas City, Missouri and Mayor Quinton Lucas, it will be unable to perform the last two performances of  “Lucia di Lammermoor” on March 13 and 15, 2020 at the Kauffman Center.

The Chicago Opera Theater has announced that “amid ongoing concerns about the Coronavirus COVID-19, Chicago Opera Theater has made the difficult decision to indefinitely postpone our Gala and Season Reveal on Friday, March 13, 2020.

Opera Theatre of Saint Louis has made the difficult decision to cancel all public events in March (including Opera Tastings, the Cupcake Concert, Cocktail Concert, and Sip, Savor, Sing) in cooperation with local efforts to contain the spread of the COVID-19 virus.

The New Camarata Opera has announced that “it regretfully announces the cancellation of “Barnum’s Bar and Games” on March 18th. We are working with (Le) Poisson Rouge to reschedule this event at a later date. Rest assured, those who have purchased tickets will be offered tickets to the rescheduled event, or to one of the performances of “Barnum’s Bird” in May at no additional cost. New Camerata Opera is grappling with the realities of the COVID-19 situation and feels that holding this event in the current climate would be inappropriate and unsafe.”

Omaha Opera has postponed its One Festival stating, “Opera Omaha is honored to serve this community, which includes our audience, artists, staff and collaborators.  We strive to be a leader in our community and in our field, even when it means making difficult decisions. As we have been monitoring the scope of the COVID-19 pandemic, relying on information from local authorities as well as our partners and colleagues, we have decided that the most responsible way to honor our commitment to our community is to postpone our upcoming events and ONE Festival offerings including the productions of ‘St. John the Baptist’ in the MidCo Glass Building and ‘The Capulets and the Montagues’ in the Orpheum Theater.”

Edmonton Opera has canceled this weekend’s performance of “Candide.”

Utah Opera and the Utah Symphony has announced that all performances are canceled through March 28.

Opera in the Heights has announced its production of Tchaikovsky’s “Eugene Onegin” has been canceled.

Opera on Tap also canceled its March Madness Homebrew at Freddy’s in Brooklyn. The company’s next show is set for April 3, 2020 at Barbes with another one at Freddys set for May 14, 2020.

American Opera Projects has also canceled all March events and stated, “Given the news, we unfortunately have no choice but to cancel our remaining performances this month. Refunds will be available through the box office by which your tickets were purchased. Ticket exchanges for The AOP Mixtape event on March 26 will be available through Joe’s Pub to the rescheduled date of August 27.”

The Seattle Symphony has canceled all public events through the end of the month, the Symphony has said it will continue to offer its performances online “to offer strength, comfort and unity” while many public gathering places are closed to help limit the spread of coronavirus.

Pensacola Opera has postponed all performances of “Il Trovatore” scheduled for March 20 and 22.

Livermore Valley Opera has canceled its performances.

Arizona Opera has postponed its gala while AVA Brava gala has been canceled.

UPDATE: Friday, March 13, 2020

Minnesota Opera has postponed its productions of “Don Giovanni” and “Edward Tulane” to a future season. The company also noted that it will look to reschedule artist contracts to a future season, but will also set up an Artist Support Fund “for artists both on and off stage.”

Sarasota Opera has canceled events and concerts as of March 13. In a press release, Executive Director Richard Russell stated, “Our top priority has been and will continue to be the health and well-being of our audience and company. When this crisis has passed, we look forward to welcoming our community back so that they can continue to experience the thrill and beauty of this art form we love. We thank you for your patience and your support during this difficult time.”
San Francisco Performances will also cancel performances scheduled through March 31.

Opéra de Montréal has canceled performances through April 12, 2020, including the production “La voix humaine” and “L’hiver attend beaucoup de moi.”  The company did note that the performances would be rescheduled for a later date.

Works & Process at the Guggenheim Announces Temporary Closure until June 3.

The Stratford Festival has canceled its performances between April 11 to May 2, as well as all public events in its facilities during March and April.

Atlanta Opera has announced it will cancel its remaining performances of “Porgy and Bess.”

The Verdi Chorus has canceled its performance of “Opera Gets Real” slated for April 18-19.

The Celebrity Series of Boston to Cancel All Remaining Performances of the 2019-2020 Season. Gary Dunning President and Executive Director of the Celebrity Series of Boston says, “It is our ethical and moral responsibility to care for the welfare of our staff, artists, audience members, and community partners. As disappointing as the decision is, the cancellation of the remaining Celebrity Series performances in our 2019-2020 season is the only responsible course of action. The momentum of the pandemic and various civic and health guidelines and regulations only reinforce the validity of our decision. I regret the impact on our artists and the loss for our audiences. I look forward to a time in the not too distant future where we all can enjoy the joy of live performance.”

Following guidelines from Governor Baker banning events larger than 250 people, The Handel and Haydn Society has canceled both performances of Bach St. Matthew Passion originally set to take place April 3 and 5 at Symphony Hall. The performances will not be rescheduled. The Handel and Haydn Society will continue to monitor the evolving situation surrounding the COVID-19 (Coronavirus) pandemic. The performances of Vivaldi: The Four Seasons on May 1 + 3, 2020 at Symphony Hall remain unaffected at this time. The Handel and Haydn Society will provide updates on its website and social media channels including Facebook, Twitter and Instagram pages.

The Park Avenue Armory cancelled all performances of Maria Vespers, originally scheduled to run March 21-29, 2020. All public tours have also been cancelled.

The Pittsburgh Opera has canceled ‘Carmen’ and all public events through April 5.

The Canadian Opera Company following the advice of public health authorities has canceled all programs and events through the first week of April, both at the Four Seasons Centre and partner venues across the city. The company plans to return to the stage with performances of “Aida” (opening April 18) and “The Flying Dutchman”(opening May 1), but will continue to monitor this ever-changing situation closely and are committed to following the recommendations of health officials as the COVID-19 pandemic evolves.

The Houston Grand Opera has canceled its productions of “Salome” and “The Magic Flute” from April 17 to May 8.

The Dallas Opera has canceled all private and public events through April 28, 2020. This includes all performances of Verdi’s “Don Carlo,” the double bill of “Pulcinella/La voix humaine,” and the first two performances of “The Barber of Seville” on April 24 and 26.

The Celebrity Series of Boston has canceled all of its remaining performances throughout the 2019-20 season, which ran through May 3 and included performances by Renée Fleming, Angela Gheorghiu and Davóne Tines.

Indianapolis Opera has announced it will cancel performances of “Don Giovanni” are canceled while Opera Colorado has canceled all events.

The NYCHORAL has canceled the Spring Gala on April 2 and out of an abundance of caution for our community, they have also decided to cancel the performance of Randall Thompson’s Requiem on May 9.

UPDATE: Sunday, March 15, 2020

Madison Lyric Stage has postponed its upcoming performances of “Suor Angelica” and “Erwartung” until June 4-14, 2020.

The San Francisco Symphony announced that “due to an extension of the Public Health Order prohibiting gatherings of 100 or more persons to slow the spread of COVID-19, there will be no concerts or events at Davies Symphony Hall through April 30.”

UPDATE: Monday, March 16, 2020

Opera Memphis has shut down its production “Così fan tutte.” Instead, the company will present its 30 Days of Opera throughout April.

The Natchez Festival of Music has also canceled is May 2020 slate.

Opera Mississippi has canceled its final production of the 2019-20 season, “Romeo and Juliette,” which was scheduled for April 25, 2020.

Carnegie Hall has closed until May 10, 2020.

Nashville Opera has canceled its performances of Rigoletto while Arizona Opera has canceled its production of “Ariadne auf Naxos.”

UPDATE: Tuesday, March 17, 2020

San Francisco Opera  has canceled its First Act Workshop: Opera Puppet Show for families on March 28 and the final two recitals of the 2020 Schwabacher Recital Series on April 1 and 22.

The Brooklyn Art Song Society has announced that its two final concerts to Sunday May 10 (The Dichter Project at the Brooklyn Public Library) and Friday, June 5 (The Art of Song at the Brooklyn Historical Society) will continue as planned unless the venues are not open to the public.

The Lyric Opera of Kansas City has announced that the direction of Mayor Quinton Lucas, Lyric Opera will cancel the remaining performances of the 2019-2020 season, including “The Shining” scheduled for April 25-May 3, 2020 at the Kauffman Center.

San Francisco Performances has announced that it will be canceling the rest of its 40th anniversary.

The Fort Worth Opera has announced that the 2020 Festival has been cancelled and all upcoming performances have been postponed, in an effort to help stop the spread of the coronavirus, or COVID-19. The company is diligently exploring options to reschedule Puccini’s “La Bohème,” the world premiere of Héctor Armienta’s “Zorro,” and Johann Strauss II’s “Revenge of the Bat (Die Fledermaus)” for the future. FWO’s concert with soprano Talise Trevigne at The Amon Carter Museum of American Art and Pops at the Pavilion at The Kimbell Art Museum have been cancelled. The Masked Gala will be rescheduled for a later date.

Florida Grand Opera has suspended its performances of “Rigoletto.”

Opera Buff has canceled its May 10 performance of “La Traviata.”

UCLA announced that amidst the unprecedented realities that are the country is actively addressing due to the COVID-19 global pandemic, the university has decided to suspend all performances for the remainder of the 2019-20 Season.

The New Camerata Opera released a statement, “Unfortunately, due to public health and safety concerns regarding COVID-19, we have been forced to postpone our spring production of Libby Larsen’s ‘Barnum’s Bird,’ previously scheduled for performances in May 2020. We are working with (Le) Poisson Rouge to reschedule these performances for the fall of 2020. Those who have purchased tickets will be able to transfer to a future performance date, once scheduled. We ask for your patience and understanding as we work to reschedule our production.”

The Kennedy Center has announced that it will cancel all public performances and events scheduled through Sunday, May 10, 2020, in an effort to reduce the spread of COVID-19.

Tulsa Opera has postponed the May 2020 production of Tobias Picker’s “Emmeline.”

Anchorage Opera has canceled its production of “Tosca” originally for April 17-19.

UPDATE – Wednesday, March 18, 2020

The Boston Symphony Orchestra has announced that all concerts through May 2, 2020 will be canceled.

The Odyssey Opera will no longer perform Benjamin Britten’s “Gloriana,” originally scheduled for Saturday, April 11, 2020.

The Handel and Haydn Society is canceling the final performances of the season. The company stated that it hopes to reschedule the final performance. show and perform it in a later season.

The Chicago Opera Theater has announced the indefinite postponement of the remainder of our programming for the 2019-20 season in light of COVID-19. The decision comes following federal, state, and CDC recommendations to reduce large gatherings in an attempt to curb the spread of the novel coronavirus.

The Bronx Opera has announced it will postpone “The Bartered Bride” until it’s coming 2020-21 season.

UPDATE – Thursday, March 19, 2020

Victor Herbert Renaissance Project Live has postponed the last production of the year. No date has been given as of yet.

Washington Concert Opera has postponed its performance of “Simon Boccanegra” to Sept. 13, 2020.

Florida Grand Opera has suspended all performances of its production of “Rigoletto.”

Opera Company of Middlebury has postponed its production of “The Maid of Orleans” from June 2020 to June 2021.

“The Voice of Silence” concert, which is set to take place at Lincoln Center, will be postponed until Sept. 14, 2020.

UPDATE – Friday, March 20, 2020

The George London Foundation Recital by Rihab Chaieb and Lawson Anderson on April 19, 2020, at The Morgan Library and  Museum has been cancelled. All public events at the Morgan have been suspended through April 30.

Oratorio Society of New York – The May 6, 2020 program featuring the world premiere of the Paul Moravec/Mark Campbell oratorio A Nation of Others, as well as Robert Paterson’s Whitman’s America, has been postponed – Carnegie Hall has cancelled all events through May 10. This program will take place at Carnegie in the fall, on Tuesday, November 10, 2020, at 8:00 pm, with Kent Tritle, conductor, and soloists including Maeve Hoglund, soprano; Raehann Bryce-Davis, mezzo-soprano; and Joseph Beutel, bass-baritone. Tickets for May 6 will be honored on November 10.

Cathedral Choir of St. John the Divine – The March 31, 2020 performance of Bach’s St. John Passion will not take place as scheduled, but tickets will be honored a performance of Bach’s Mass in B Minor on Wednesday, June 17, 2020, at 7:30 pm

The Boston Lyric Opera has canceled its final production of the season, “Giulio Cesare” from May 8 through 17, 2020. The company stated, “As difficult as this decision is to make…doing our part to curb the ongoing crisis will guide all of our decisions for programming and events in the foreseeable future.”

UPDATE – Saturday, March 21, 2020

Portland Opera and Virigina Opera have canceled the remaining part of the 2019-20 season. At the Portland Opera the Big Night Concert, Leoncavallo’s “Pagliacci,” Heggie’s “Three Decembers,” and Portland Opera Resident Artist Recitals have been canceled. Meanwhile, Virginia Opera canceled a production of “Aida.” 

Carnegie Hall has canceled the remainder of its season.

UPDATE – Friday, April 3, 2020

The Atlanta Opera has announced that it will be postponing its final two productions of the season for “Madama Butterfly” and “Glory Denied” until a later date. “Madama Butterfly” will be performed in November.

UPDATE – Monday, April 6, 2020

The Princeton Festival has canceled it June slate.

UPDATE – Tuesday, April 7, 2020

Opera Theatre Saint Louis has canceled its 2020 festival. The company’s season was set to open on May 23 with productions of “Carmen” and “Die Fledermaus.” The season was also set to world premiere Tobias Picker and Aryeh Lev Stollman’s opera “Awakenings,” and also set to showcase the company premiere of Carlisle Floyd’s “Susannah.”

UPDATE – Friday, April 10, 2020

The LA Opera has announced the cancellation of its upcoming production of “Pelleas et Melisande” and concert production of “Rodelinda.”

Long Beach Opera cancels the rest of the season.

UPDATE – Saturday, April 18, 2020

Madison Lyric Stage has announced that it will be unable to bring the double-bill production of “Suor Angelica” and “Erwartung,” scheduled for June 4-14.

The post Updates on Opera Companies & Orchestras Throughout U.S. & North America Canceled Due to Coronavirus Outbreak appeared first on OperaWire.

We hope that the end of your 2019 is a prosperous one and that the start of 2020 is even better.

As we look forward to the next calendar year, we are taking some time to reflect on the opera performances that defined 2019 for many of us. As with last year, many of OperaWire’s staff members are coming together to put a spotlight on opera around the world. Without further ado, here are our selections for the most memorable performances of 2019.

John Carroll

I’ve chosen two favorites for the year: one live and one broadcast.

Seattle’s “Rigoletto” in August was a captivating production by stage director Lindy Hume. Her resetting of the work in 2012, with the Duke modeled after former Prime Minister of Italy, Silvio Berlusconi, was a searing indictment of contemporary political and social corruption. When an updated production connects the themes of a classic work directly to our current daily lives as effectively as Hume’s did, it’s a success in my view. The spectacular set, lighting, and costume designs highlighted the contrasts in social and sexual power and the deft integration of elements of modern media machine (24/7 cable news, social media, mobile phones) made clear how this media circus becomes the sugar high of a corrupt state. Of course, this opera couldn’t have been a success (or my favorite of the year) if the performers were not well cast and up to Verdi’s challenges. Madison Leonard was a radiant Gilda, Liparit Avetisyant a cocky Duke, Ante Jerkunica a darkly smoldering Sparafucile, and Emily Fons’ a trashy and surprisingly funny Maddalena. While Lester Lynch didn’t soar vocally as Rigoletto, it was an empathic and emotionally resonant performance.

My other favorite was the Met’s broadcast in October of “Manon” in its Live in HD series. Living in Seattle, I appreciate the Met’s robust broadcasting platform as a chance to expand my local operatic experiences with a wide array of work created by singers, musicians, directors, and production designers at the pinnacle of their professions.  “Manon” may be my most loved opera so there was zero possibility I’d miss it from the Met starring Lisette Oropesa. To hear a leading lady with a true lyric-coloratura soprano in the role was a joy and Oropesa proved an ideal match for this passionate coquette, looking and sounding sublime at every moment. The men in her life — sung by Michael Fabiano, Brett Polegato, and Artur Rucinski — were all outstanding foils for her allure. Laurent Pelly’s stylized production has some brilliant moments, but suffers from dreadfully stark set designs that convey nothing of the aesthetics or spirit of the Belle Epoque period he chose to set it in.

(Credit: Sunny Martini)

Matt Costello

Selecting one operatic experience as the most memorable – for this year, 2019 – is not as difficult as last year. And not because of a dearth of contenders for that honor. For example, the “Die Walküre” – all three acts, staged over two days at Tanglewood this past summer — was one of the most intense and powerful Wagner operas I ever attended.

Or the recent “Verdi Requiem” performed at the new and mammoth Hudson Yards “Shed;” MusicAeterna, led by Teodor Currentzis, made every moment of the choral piece as if new — visceral, exciting.

But the most memorable? That title would have to go to Saratoga Opera’s “Hansel and Gretel.” The sturdy, charming Humperdinck piece was turned into a multi-faceted, always moving experience. This was accomplished by pairing a keen sense of intimacy and minimalism, with the “magic” — if you will — of the old-school theatrics of plastic cut outs and silhouettes, all projected with a bit of hardware I thought wasn’t even made anymore — an overhead projector.

With the singers so close, fully engaged, and the small orchestra on stage, it was all worthy of your attention. The musical forces were perfectly matched with the seamless display of lights and shadow carried out by the inventive Manual Cinema performers. Days, even weeks later, I was still talking about. As I am now — and it makes me look forward to whatever Saratoga will attempt for the upcoming summer season.

(Credit: Opera Saratoga)

Polina Lyapustina

For the second year in a row, the Bayerische Staatsoper has given me the best operatic experience of the year. Korngold’s “Die tote Stadt,” which is still fresh in my memory, was far above anything else I experienced all year.

It was an endangered rare chance to see the result of the collaboration between Kirill Petrenko and Jonas Kaufmann, who despite all the obvious differences, have become very close on the stage of BSO. Although we were told that we shouldn’t panic and that Petrenko will also pay some attention to opera in the future, we all understand that none of this will ever be the same mainly because Berliner Philharmoniker is definitely worth all the conductor’s energy. So to hear the Maestro’s interpretation of such a modern piece on the stage of BSO was especially valuable.

Both soloists, Jonas Kaufmann and Marlis Peterson gave outstanding performances, though they pursued completely different goals or, perhaps, were just interpreted differently. While Jonas Kaufmann hinted that he’s still on the very top, Marlis Peterson simply shone with marvelous acting and singing, stealing the attention from her famous co-creators.

Another remarkable project to mention is “Sun and Sea (Marina),” a Lithuanian modern opera which won this year’s Golden Lion, the top prize of the Venice Biennale. Confronting mainly visual art objects, this piece was highly acclaimed for its unusual staging, thought-provoking libretto, and a variety of performers who took part in the project.

The audience watched the opera from above as if observing animals in the aviaries. There were about 20 of them — just people who came there to catch the sea breeze and sunlight, all different but very familiar, even stereotypical. “O, the sea never had so much color!” one singer noted in her aria, and that’s what we could see around us — bottle caps and other trash coloring the sand of the pavilion. Behind the gentle melodies and slothful singing “Sun and Sea” spoke out about climate change and our despairing future, and people, who, unnoticed by themselves, brought the planet to this fatal state.

Credits: W. Hoesl

Elyse Lyon

I thought I would find it nearly impossible to choose one performance out of the hundred or so I’ve seen this year. After musing on it, however, the night that keeps coming to mind is the premiere of the Staatsoper Berlin’s “Betrothal in a Monastery,” conducted by Daniel Barenboim and directed by Dmitri Tcherniakov.

I’d never had a chance to see “Betrothal” before, and the experience of being introduced to Prokofiev’s opera by such a stellar conductor, orchestra, and cast was unforgettable. Music that might have seemed muddled and unconvincing in less capable hands, with its lack of traditional arias and its midcentury musical idiom, glittered and bewitched as performed by the Staatskapelle Berlin beneath Barenboim. The entire cast was delightful: Aida Garifullina enchanted as Luisa; Anna Goryachova was a splendidly unbalanced Clara; Violeta Urmana’s  Duenna would have been memorable for the force of her personality alone; Stephan Rügamer, as Don Jerome, was delectably boorish.

Tcherniakov’s production, unsurprisingly, was divisive. The set, through all four acts, consisted primarily of a starkly lit room scattered with ranks of the Staatsoper’s own red-and-white seats. The plot of the opera was reimagined as a meeting of “Opera-Addicts Anonymous,” the characters given backstories told by means of projected text: the obsessive operagoer whose addition has alienated him from his family; the embittered critic who’s fallen out of love with opera; the disillusioned singer who wants nothing but to leave the world of opera forever. In projected videos, done in the style of cheap infomercials, recovered opera addicts gave earnest speeches about how much better and happier their lives were without opera.

In the final chorus, however—following a droll trick ending, during which a curtain descended just long enough for a handful of audience members to rush out to be first in line at the coat check—the apparent bitterness toward opera was completely turned on its head. The stage filled to bursting with scores of beloved opera characters, richly dressed in copies of costumes from beloved historical productions: Tosca, Brünnhilde, Boris Godunov, Papageno, Falstaff, Otello.

I did not necessarily find it to be the most successful Tcherniakov production I’ve had the pleasure of seeing, but I’ve always found Tcherniakov’s oeuvre to be exciting, thought-provoking, and ultimately deeply rewarding. As an insightful friend remarked, the production was far more loyal to Prokofiev’s work than it might appear at first glance: “Verlobung” is essentially a love letter to opera, with its playful use of timeworn operatic tropes, and Tcherniakov’s production, too, was essentially a love letter to opera. Both poke fun at the genre, both criticize it and turn it on its head, but their overwhelming message is an affirmation of powerful love for and devotion to a centuries-old art form.

What made the night so especially memorable was the sense of community it created. In the lobby, following the performance, I found myself happily chattering with complete strangers, naming the characters depicted by the chorus members and talking fondly about legendary singers. A few days later, during the intermission of another Staatsoper production, I stumbled into a conversation with some of the backstage crew who were taking a smoke break on Bebelplatz: laughing over the premise of Tcherniakov’s production and over our shared addiction to opera. It was a powerful reminder of how opera can bring us together.

As Tcherniakov’s production hints, there are times when opera can be a lonely pursuit. At other times, however, it can create a sense of profound connection—not only with the past, and with four hundred years of tradition and growth, but with a community of fellow addicts that spans countries and continents.

Credit: Ruth and Martin Walz

Logan Martell

The best performance I’ve seen this year was the Metropolitan Opera’s “Le Nozze di Figaro.”

Luca Pisaroni and Nadine Sierra led a splendid cast of artists, with their respective talents showing clearly through almost every number. We all know the music, we all know the jokes, but the cast nonetheless kept the audience laughing, sounding great all the while. Such performances, in my opinion, make for shining examples of what opera can achieve through musical and dramatic excellence.

(Credit: Metropolitan Opera)

Alan Neilson

During the year, I attended 45 staged performances, of which there were many highlights that have etched themselves in my memory. In some instances this was due to a standout singing performance, as in the cases of Joyce El-Khoury’s Elisabetta in the Welsh National Opera’s production of “Roberto Devereux,” or countertenor David Hansen’s Epitide in Broschi’s “Merope” at the Innsbruck Early Music Festival.

Other performances stood out for the director’s imaginative take on a work, such as Helen Malkowsky’s bleak “Mignon” at the Tiroler Landestheater or the Welsh National Opera’s production of Heggie’s “Dead Man Walking” headed by Lucia Cervoni as Sister Helen Prejean and Morgan Smith as Joseph De Rocher. My finest musical experience of the year came at the Verbier Festival with Valery Gergiev conducting Strauss’ “Die Frau Ohne Schatten,” featuring Emily Magee, Evelyn Herlitzius, Miina-Liisa Varela and John Lundgren.

It was also a marvelous year for contemporary opera, of which I managed to catch eight productions. What is so noticeable about contemporary opera is not simply the high quality of the music, but the way in which they explore complex issues and human psychology on such a serious and deeply informed level. Particularly impressive was Micha Hamel’s “Caruso a Cuba” at Amsterdam’s Opera Forward Festival, which has a strong narrative and is musically accessible.

However, my favorite performance of the year has to be Brian Irvine’s new opera, “Least Like The Other, Searching for Rose Kennedy,” staged by Irish National Opera at this year’s Galway’s International Arts Festival. This highly innovative work is based on the horrific true story of President Kennedy’s sister, who without the rest of the family’s knowledge was whisked off by her father, Joseph Kennedy, for a lobotomy because she experienced minor learning difficulties, and was therefore perceived as being not like her siblings. She spent most of the rest of the rest of her life in a medical institution.

It is written for a single singer, with two speaking roles for actors and a narrator, and follows a semi-linear time line. The work has a powerful impact, both emotionally and intellectually and as a piece of theatre is spellbinding. No small part in its success must go down to mezzo-soprano, Naomi Louisa O’Connell, whose intelligent and nuanced portrayal of Rose Kennedy was stunning. It is inconceivable that this opera will not be revived in the near future, it is what theater is meant to be!

(Credit: Irish National Opera)

Maria Nockin

My favorite performance of 2019 was Santa Fe Opera’s rambunctious version of Mozart and DaPonte’s comedy, “Così fan tutte.”  Director R. B. Schlather had a quartet of physically and vocally able young singers and he made excellent use of their talents. By performing stunts while they were singing, they showed off some unexpected abilities.

In this performance, every aria was acted as fully as physically possible and almost no one sang with feet firmly planted on the stage. Amazingly, while singing from unexpected positions, these artists acquitted themselves extremely well.

Soprano Amanda Majeski was a most capable Fiordiligi whose high notes turned to silver as she romped around the stage and her wide vocal range easily encompassed the scope of Mozart’s music. Tenor Ben Bliss’s charisma and distinctive voice made him a charming Ferrando. His most capable and energetic co-conspirator, Jarrett Ott as Guglielmo, sang with resounding low notes that delineated his well-drawn character. In this concept, Despina was an older, wiser servant who remained right side up. Portrayed by the veteran Canadian coloratura soprano, Tracy Dahl, Despina captivated the audience with less exhausting antics. As Don Alfonso, veteran baritone Rod Gilfry created a believable character in the midst of the wild and irreverent actions such as pouring liquid on the heads of the other singers

Conductor Harry Bicket played the overture at a brisk pace and kept the counterpoint flowing. His tempi matched the energy the director demanded of the performers and the result was a clean, crisp rendition of the score. When Don Alfonso triumphantly declaims “Così fan tutte,” (“All women are like that”), we may not agree, but since the object of this performance was fun for all, the thunder of applause after the finale proved that the goal had been reached.

Credit: Ken Howard/Santa Fe Opera

Chris Ruel

The summer of 2019 expanded my opera experience through exposure to many new and indie productions; so, instead of going with one of the big shows I’ve attended this year, I will stay within the realm of the contemporary.

My 2019 favorite opera goes to “Chunky in Heat,” staged by Experiments in Opera with music by six composers (Jason Cady, Paula Matthusen, Erin Rogers, Aaron Siegel, Shelley Washington, and Matthew Welch), and libretto by novelist and short story writer A.M. Homes. “Chunky” tells the coming of age story of Cheryl, a.k.a. Chunky, as she navigates growing up in Southern California, confronting everything from burgeoning sexuality and body issues to the emptiness of vanity and the pervasiveness of technology that records every moment in our lives.

“Chunky,” was funky—especially musically. With such a diverse range of composers contributing to the score, it was a delightful mishmash of styles that worked. The performances by Timothy Stoddard—singing three roles—and Sarah Daniels as Chunky (Cheryl) were as humorous as they were moving.

While all the above made “Chunky” a stand out opera, there were personal connections that made the production stick. Having lived in Los Angeles, the show brought recollections of the positive and the negative aspects of life in Southern California. But there was something else, something deeper, and it came about through my interaction with librettist A.M. Homes.

My interview with her for OperaWire not only provided deep insight into the story and characters but also pushed me as a fiction writer, encouraging me to take on controversial subjects and to try something new—to just “go for it” as Homes did with her libretto.

“Chunky” punched well above its weight, and for that, it stood above many of the more glitzy productions of 2019.

(Credit: Reuben Radding)

David Salazar

There have been a number of incredible opera experiences throughout 2019, including a fantastically directed “Don Giovanni” out of Paris, Javier Camarena’s iconic vocal fireworks in the Met Opera’s “Fille du Régiment,” Bare Opera’s inventive “María de Buenos Aires,” and a gut-wrenching revival of “The Queen of Spades” in New York very recently. But in the end it came down to three experiences that really stood out, all from New York’s famed theater.

The first of these was a revival of “Dialogues des Carmélites” starring Isabel Leonard, Karita Mattila, Adrianne Pieczonka, and Erin Morley, among a number of fantastic artists. It was a wondrous rendition of an opera that deserves more reps on the U.S. most famed stage.

The same can definitely be said for my second choice (and recent news has established that this will be the case) – the Met’s “Akhnaten.” Starring Anthony Roth Costanzo, but truly dominated by Zachary James, this Philip Glass opera was a true revelatory experience that hypnotized in a way that only “Dialogues” had managed to that point in 2019.

These two works benefited in many ways from my limited exposure and experience with them in a theatrical setting. This was my second production of “Carmélites” and first-ever of “Akhnaten.” Familiarity often does breed contempt, as those who have experienced something many times are (consciously or unconsciously) holding repeated experiences against one another.

It is for that reason that in the last week, I shifted my choice for this list and put the Met’s recent “Der Rosekavalier” revival right at the top. This is an opera that can definitely never be called a rarity as it remains a fixture in theaters around the world. It is arguably Strauss’ most recorded work and undeniably one of the finest in the repertory. But it is also one hell of a challenge for anyone who endeavors to present it. And given its size, it isn’t always an unmitigated success with some of the pieces never quite coalescing.

But in this case, as I wrote in my review, it felt like the entire opera’s musical shape was under one unified musical conception. We often talk about opera productions as the catalyst for thematic and emotional unity in a modern day production, but Sir Simon Rattle transcended that by creating a unified musical whole that bypassed even the deeply flawed production by Robert Carsen. It certainly helped that he had four top notch singers in the major roles, giving their very best from start to finish.

“Der Rosenkavalier” is a long opera, but this performance made me forget about time, entrancing me in its poignant story of love, loss, and growth.

(Credit: Karen Almond / Metropolitan Opera)

Francisco Salazar

This year was filled with incredible operatic performances. From Anna Netrebko’s riveting “Adriana Lecouvreur,” Javier Camarena’s historic “La Fille du Régiment,” a fun filled “Falstaff” and a star turn from Stefan Vinke in “Siegfried.” There was also the superb premiere of “Ahknaten” at the Metropolitan Opera and the North American premiere of “Ali Baba” at the Opera Southwest, which showed promising voices and a growing company producing unique works.

But it was at the Donizetti Opera Festival where I saw opera at a completely different level. First there was “L’Ange de Nisida” which got its first production in a truly unique concept with a top-notch cast of rising stars.

And then there was “Lucrezia Borgia,“ which was given a riveting and explosive performance that showed opera could be suspenseful, timely, and dramatic. Riccardo Frizza led Donzietti’s score with urgency and subtly exploring the composer’s masterful use of the winds and strings. Carmela Remigio was fully invested in the title role, singing with precise coloratura and creating a truly complex characterization of the eponymous personage. By the end of the opera there one felt sympathetic for her tragedy. Xabier Anduaga’s Gennaro was a star-making performance that announced his true arrival on the big stage, while Marko Mimica and Varduhi Abrahamyan displayed magnetic stage presence and mastery in the Bel Canto style.

Andrea Bernard’s production was the perfect balance of minimalism with traditional aspects mixed with some modern touches. He was not afraid to go to the dark places the opera calls for and created vivid performances that generated violence and lust. All in all, this was a breathtaking evening that will go down as one of the definitive modern productions of Donizetti’s masterwork and one that I will not forget in the years to come.

Credit: Gianfranco Rotal

Lois Silverstein

This year was full of rich musical performances. From small opera to grand, 2019’s performances on the West Coast could hardly be bested.

Of the grand operas in San Francisco, the opening night revival of Britain’s opera “Billy Budd” did not fail to shine. Under the artistic skill of Michael Grandage, the production brought us Britain’s opera, based on Herman Melville’s novella, to the stage in all its glory. Idealism and morality, truth and puritanical narrowness, were spread out thick and fine throughout the production as designed by Christopher Oram. He set the “hulk of a set,” the HMS Indomitable, and provided the container for the complex, psychological drama. The rest of the creative team of director Ian Rutherford and David Manion executing original lighting design by Paule Constable brought to bear the intensity as did the all-male cast consisting of 75 voices in chorus and solo, including eight boys from the Ragazzi Boys Chorus. Both set and singers created a quasi-cathedral setting. Mr. Redburn, Mr. Flint, Mr. Ratcliffe, sung  by Philip Horst, Wayne Tigges, and Christian Pursell respectively, successfully highlighted the hierarchial structure that hammered the system into place.

The three main soloists delivered fine performances. Baritone John Chest as Billy Budd was handsome, good, pure, singing with sonority and moving conviction. The malevolent Claggart, sung by bass-baritone, Christian Van Horn, showcased his envy and longing for the innocent Budd. And tenor William Burden, singing “Starry Vere,” exhibited helplessness that dictated more of the tragedy than we first want to admit. Lawrence Renes’ conducted with aplomb. Would that Melville himself had lived to see what Britain was able to plumb of this penetrating story, and in this stunning San Francisco revival of the dark, penetrating drama.

(Credit: Cory Weaver / San Francisco Opera)

Mauricio Villa

The performance of Verdi’s “La Traviata” at Palais Garnier on the 15th of September 2019 has been the highlight of this year’s season for me.

An extraordinary cast with a clever, meaningful and moving new production by Simone Stone made this evening something unforgettable. It was Pretty Yende’s debut in the role, but based just on the pathos, emotion, and vocalism she put into the role, you would not believe that she was portraying this famous suffering heroine for the first time. The score suited her voice as if it has been written for her, managing the coloratura and dramaticism needed to portrayed such a role.

Benjamin Berheim was a pleasant discovery for me; with a sweet warm timbre he was able to inspired all the feelings that the character of Alfredo demands. Ludovic Tezier has sung the role of Germont for many years and demonstrated his artistry and immaculate technique as well as his astounding voice production.

Simone Stone’s new production reflected “La Traviata” in modern times, making this 19th century drama something we could all relate to, with the oniric ending of Violetta disappearing in fog during her dead scene. It was a remarkable and unforgettable performance.

Dejan Vukosavljevic

I have enjoyed many great productions in 2019, all over the operatic world. Thus, it is fairly difficult to choose the best production of the year, but if I really had to choose, I would wholeheartedly go with the production of Richard Wagner’s opera “Rienzi, der Letzte der Tribunen” at the Deutsche Oper Berlin. The third and a very rarely performed opera of a Sorcerer from Bayreuth, “Rienzi” has always been considered a rare treat for every true Wagnerian.

The Deutsche Oper Berlin staged “Rienzi” for the first time in 2010 in a fantastic and rich production by Philipp Stölzl. This 2019 rendition saw the cast with Torsten Kerl in the title role, while Martina Welschenbach and Elisabeth Teige alternated in the role of Rienzi’s sister Irene. Torsten Kerl proved to be in top heldentenor form, while both Welschenbach and Teige were persuasive and completely up to the task as Irene. Mezzo-soprano Annika Schlicht gave a breathtaking performance in the role of Adriano, rarely seen heroic singing that had the audience holding on to their seats. The rest of the cast aligned perfectly with these top performances by the principals (Andrew Harris, Stephen Bronk, Clemens Bieber, Derek Welton and Dong-Hwan Lee).

However, it was a non-intentional event that gave an almost supernatural flavor to this latest rendition of “Rienzi” at the Deutsche Oper Berlin – the rare treat of two artists in the role of Irene. In many opera houses, it would have also been regarded as a very undesireable one, but this was far from the case here.

During the last performance on May 10, soprano Elisabeth Teige was vocally indisposed. Still, she was able to appear on the stage as a scenic Irene, while soprano Camila Ribero-Souza was singing the role from the right side of the stage. She was summoned to Berlin in a last-minute call. The two artists ladies were 100 percent synchronized in this unexpected development, without any noticeable lapses.

Two sopranos instead of one? I had a true feeling that I seriously underpaid my ticket for that final evening performance, and happy to acknowledge that publicly. “Rienzi, der Letzte der Tribunen” at the Deutsche Oper Berlin has the operatic crown of 2019, in my opinion.

Credit: Bettina Stoss

The post Best of 2019 – OperaWire’s Staff on the Best Performances of the Year appeared first on OperaWire.

Aryeh Nussbaum Cohen’s family fully expected him to pursue a career in Public Policy when he went to Princeton University.

But that wasn’t the path he would take.

Instead he got his B.A. in History and studied Voice as well, when he realized just how deep music and he were deeply intertwined. The music bug that had bitten him when he was a young boy and over time, turned his path around.

“The voice I sing with is the voice I have known all my life,” Cohen told OperaWire in a recent interview in which he elaborated on his background and career development in anticipation of his upcoming “Messiah” performances with the the SF Symphony Chorus and Orchestra. “From the time I sang with the Brooklyn Boys Choir, I knew only this sound, and I loved it.

His love and passion for his voice has catapulted him to the top of the opera world.

In Love With His Voice

The last couple of years have been a whirlwind of sorts for the 25-year-old.

He received the San Francisco Classical Voice Award for “Best Opera Singer” and “Best Recitalist” as well as a grant from the Sullivan Foundation. He traveled to Prague to sing at the Operalia Competition, where he won third place. At the Met Opera National Council Auditions, he was widely acclaimed as a “young star” who sang with excellent diction and moving sensitivity. The New York Times’  Zachary Woolfe, called him not just a superb singer but a “complete artist,” albeit a “baby-faced” one.

And right now, Cohen is completing his two years as an Adler Fellow in San Francisco.  During this time he has performed Medoro in Handel’s “Orlando” to acclaim. Remarking on this particular success, Cohen gave much of the credit to his audience.

“I feed on the energy of the crowd,” he stated. “I always have. It helps me maintain my immersion in my roles.

Another important figure in his ascension and growth as an artists is his primary teacher Dr. Stephen King of Rice University in Houston.

“Working with him has been marvelous. He has helped to grow my voice through a physiological approach,” Cohen noted. “His attention to production of tone and range in specifics has helped foster my own vocal production.”

From Canter to Tenor

Cohen grew up with a strong Jewish tradition serving as a cantor in a Traditional Conservative Synagogue for seven years. He feels that this has allowed him a deeper understanding of many of the baroque texts that focus on religious themes and are so prevalent in his repertory.

“I find the connection between the Baroque and the Jewish prayer book strong. The style, the ornamentation, the aim to rouse the listeners, i.e., ‘audience and congregation,'” he noted.

In Jewish tradition, singing is a vital part of a service, the aim always to stir the listener to the meaning of the text, as it does in Baroque music. Some people claim that it doesn’t matter what spiritual source music comes from, that it is all in the interpretation and presentation.

“But if you count on the subject matter being handed down by God at Sinai, for instance, in the Liturgy, then the melodies are carrying some of that intention itself,” he added.

Cohen finds it a privilege to rouse people to the spiritual as a cantor and to the aesthetic as a tenor. But he did note that his now facilitation of services has taken second place to the ritual he performs on the stage. Given that theatrical life emerged from the religious one, it is hardly surprising to feel and savor the overlap of the two.

This transition will be the first of many for the tenor in coming years as he transitions into one of the world’s leading countertenors. He noted that while he is not going to take anything for granted, he has a lot of dreams about the kinds of operas he hopes to undertake on the biggest stages.

“I look forward to singing ‘Rodelinda’and ‘Rinaldo’ of the classics,” he enthused. “And of contemporary works, perhaps the full role of the Refugee in Jonathan Dove’s ‘Flight’ and well as performing in George Benjamin’s ‘Written on Skin.'”

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Billy Budd, Foretopman, is the center of the conflict between evil and good, dark and light, vulnerable and powerful in Benjamin Britten’s masterpiece  “Billy Budd.”

Picking this opera for the second night opening of San Francisco’s 97^th season was a masterful choice. Everything – the music, drama, ethical conflict, suspenseful, challenging, rewarding – it wouldn’t do for Opening Night, of course, being such a social diatribe, but hard on its heels, it was terrific. The encompassing belly of the ship pulled us right into its story and the dynamic music made us feel right inside the situation and its subtleties.

Safe In His Hands

The title role was interpreted by by American baritone, John Chest, and with panache. “Beauty,”as Budd is called by the malevolent enemy Claggart , is good as he is handsome, pure as he is real. Chest appealed right from the start, his voice beautiful in its sonority, his conviction embedded in each note.

This never wavered, although occasionally his mellifluous sound sank and meaning grew vague. Overall, however, his timbre was perfect, the plangent “cri de coeur” never cloying, nor a plea for sympathy. That was unique, in fact, in Budd’s character – he knew where he was in time and space and otherwise: “I am a good sailor” he told the Captain when he stood before him apparently going to receive a promotion. “In my hands, you would be safe.” Indeed, the audience was also safe in his hands.

It was all the more terrifying that a man like Claggart, played with depth and vigor and beauty by bass-baritone Christian Van Horn, could bring Billy down. Or at least tried to, when he lied about him to Vere.

Vere disliked Claggart himself, and didn’t trust him from the get-go, but because Billy stammered and couldn’t speak for himself in defense, and hit him when words wouldn’t work, and killed him, Vere is stuck with a brutal decision. The “articles-of-war” required him to put Billy to death too, i.e., in other words, put goodness and kindness, gentleness and forthrightness to death. It is the apex of the skewing of the moral compass.

The master of such a dilemma, Herman Melville, whose unfinished novella the opera is based on, knew how to convey the struggles of goodness in a world of evil. “Moby Dick” is his prime example. Melville, the genius who pinpointed conflict like this and brought it alive in his tale, excelled at deepening the undercurrents of Claggart’s character.

Claggart was not only jealous of Billy Budd. He longed for him, for his beauty and goodness, his innocence, for his everything that he lacks and mourns. He wants Budd himself. He wants to be Budd. He wants to possess him, and only he knew that such a thing could not happen; hence, he set out to destroy him.

Helpless As Billy

Edward Fairfax Vere, played eloquently by tenor William Burden, is as helpless as Billy seemed to be in the unfolding drama. He sang with plangency and purpose, even conveying his weak-willed decision. “Starry Vere” he’s called and as such, Burden conveyed his idealistic notions even as he had the hard-nosed job of guiding the ship of war.

What stood out about Burden’s performance was his less-than-hard-nosed guidance, even as he had to decide to hang Budd. He used his voice to carry Vere’s lack of brawn. It was appropriate to his psychic decision, this choice, and an excellent contrast to the stark rigidity of the “articles-of-war” and the position he held.

During the flashback sequence, he played Vere as emotionally wobbly. His regret here was more self-pitying than strong and stark.

It was an all-male cast, 75 male voices in chorus and solo, including eight boys from the Ragazzi Boys Chorus, led by Chorus Director Ian Robertson. The voices created an almost cathedral quality throughout, especially in a setting that provided such a striking interior. Mr. Redburn, Mr. Flint, Mr. Ratcliffe, sung  by Philip Horst, Wayne Tigges, and Christian Pursell respectively, successfully highlighted the hierarchial structure that hammered the system into place.

Sea To Life

The action of ship life never stopped throughout the opera. Singing was as vital as the rest of the movement, carefully sculpted by acclaimed Tony Award director Michael Grandage who brought the at-sea and underwater atmosphere dramatically to the fore.

Production designer Christopher Oram set the “hulk of a set” on stage, the HMS Indomitable, an 18^th century British warship. The production was staged in revival by director Ian Rutherford and featured original lighting design by Paule Constable and executed by David Manion.

The muted colors, apart from the simple white and pale blue of the blond Budd, were counterpointed by the British red-coats who marched in, rifles aloft, to bring to bear their legal rights, and righteousness. Americans, with the overtones of the Revolution strong in recent memory, rankled in the scene. The dimly lit bowels of the ship helped to create the claustrophobic ambience where the drama unfolded. As did the lights, except perhaps for the rather garish floor light on Billy when he is shackled before his hanging. Fortunately, it dimmed as Budd’s aria unfolded.

The music was the lodestar – brilliant as only Britten could do with a subject of this magnitude. Conductor Lawrence Renes kept the energy aloft and fed the singers the dimensions of tension and lyricism the score demanded. Nothing was pretty here for its own sake; words and music, psychology and complexity, originality, guided and supported the unfolding drama. The orchestra under his baton rose to the occasion.

San Francisco Opera brought the Britten masterpiece to life on the War Memorial Opera House stage. Dedicated to the late critic, the internationally renown Allan Ulrich, the performance turned out a work of art of the highest caliber, performed with eloquence and class.

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