The company will present the work in a production by Henning Brockhaus with a set design from Josef Svoboda. The production has been the recipient of the Premio “Abbiati.”

The opera will be seen on Dec. 20 and 22 and will showcase Nir Kabaretti conducting the Orchestra Filarmonica Marchigiana and Coro Archè di Pisa.

Ruth Iniesta will star as Violetta Valery while Paolo Lardizzone will sing the role of Alfredo. Simone Piazzola will round out the cast as Giorgio Germont.

Elena Belfiore, Francesco Napoleoni, Ilaria Casai, Alessandro Ceccarini,  Tommaso Corvaja, Giorgio Marcello, and Tommaso Tomboloni also star.

The performance on Dec. 20 will be accessible to those with vision and hearing impaired thanks to ALI – Accessibilità Lingue Inclusione.

The post Teatro Pergolesi to Present ‘La Traviata’ with Ruth Iniesta appeared first on OperaWire.

First up is “A Visit to Friends,” a new opera by Collin Matthews and William Boyd. It stars Lotte Betts-Dean, Susanna Hurrell, Marcus Farnsworth, Edward Hawkins, and Gary Mattewman. Jessica Cottis conducts and Rachael Hewer directs.

Performance Date: June 13 & 14, 2025

James Davy leads the Britten Pears Chamber Choir in a concert featuring works by Helen Grime and Daniel Kidane.

Performance Date: June 15, 2025

Mezzo-soprano Lotte Betts-Dean and pianist George Xiaoyuan Fu join forces with filmmaker Matilda Hay for works by Schubert and a film by Hay.

Performance Date: June 15, 2025

Allan Clayton and Claire Booth join Ryan Wigglesworth and the Knussen Chamber Orchestra for a program of works by Beethoven, Britten, and Helen Grime.

Performance Date: June 15, 2025

Soprano Claire Booth headlines a “Creative Discussion: Speak of the North” alongside composer Gavin Higgins, poet Katrina Porteous, and historian Professor Julian Wright.

Performance Date: June 16, 2025

Soprano Claire Booth headlines “The Idea of North: Grieg, Grainger, and Gavin Higgons” alongside Christopher Glynn and Tamsin Waley-Cohen.

Performance Date: June 17, 2025

Anna-Maria Helsing leads the BBC Concert Orchestra and Iceland Philharmonic Choir in music by Grieg, Lindberg, Mendelssohn, Nielsen, Alfvén, Mäntyjärvi, and Richter, among others.

Performance Date: June 17, 2025

Soprano Sophie Bevan headlines a program of music by Betsy Jolas and Ravel alongside the Knussen Chamber Orchestra Players and pianist Ryan Wigglesworth.

Performance Date: June 18, 2025

Tenor Allan Clayton headlines a program of works by Kidane, Turnage, and Nielsen alongside the Royal Academy of Music Symphony Orchestra under Edward Gardner.

Performance Date: June 19, 2025

Allan Clayton stars in “Lamentations” alongside the Dunedin Consort. The program includes music by Caroline Shaw, Zelenka, Coult, and Bach.

Performance Date: June 21, 2025

Soprano Anu Komsi performs Strauss’ “Vier letze Lieder” alongside the BBC Symphony Orchestra and conductor Sakari Oramo. The concert also includes violinist Leila Josefowicz in Helena Grimes’ Violin Concerto.

Performance Date: June 21, 2025

Soprano Juliet Fraser headlines her own composition, “Lament.”

Performance Date: June 21, 2025

Benjamin Appl and James Baillieu perform works by Britten, Eisler, Barber, Brahms, Grieg, Schubert, Weber, and Tchaikovsky, among others.

Performance Date: June 22, 2025

Allan Clayton stars in a concert alongside the BBC Symphony Orchestra that includes music by Helen Grime, Britten, Sibelius, and Brian Elias.

Performance Date: June 22, 2025

Benjamin Appl and James Bailieu headline a recital of German Lieder. Also on the program are sopranos Lyriel Benameur and Ceferina Penny, as well as pianists Archie Bonham and Francesca Lauri.

Performance Date: June 23, 2025

Alphonse Cemin conducts an ensemble that includes mezzo-soprano Ema Nikolovska in a program that includes works by Tyshawn Sorey, Cassandra Miller, and Boulez.

Performance Date: June 23, 2025

Sopranos Lyriel Benameur and Ceferina Penny, as well as pianists Archie Bonham and Francesca Lauri, headline a program of works by Marx, Wolf, Nadia Boulanger, Lili Boulanger, Fauré, Bonis, and Satie, among others.

Performance Date: June 24, 2025

Benjamin Appl and James Baillieu headline a program entitled “Fischer-Dieskau: Singer, Hero, Mentor.”

Performance Date: June 24, 2025

Soprano Ana Kimsi and violinist Sakari Oramo perform Kurtág’s “Kafka-Fragments.”

Performance Date: June 24, 2025

Soprano Sophie Bevan headlines “Remembering Jennifer Vyvyan” alongside pianist Ryan Wigglesworth. The program includes works by Micahel White, Rameau, Britten, Poulenc, and several traditional songs.

Performance Date: June 26, 2025

The BBC Singers, under Sofi Jeannin, perform works by Britten, Palestrina, Daniel Kidane, Schoenberg, Poulenc, and Thea Musgrave.

Performance Date: June 26, 2025

Tenor Nick Pritchard and pianist Ian Tindale perform works by Britten, Holst, and Daniel Kidane.

Performance Date: June 27, 2025

Antonio Pappano and Allan Clayton perform works by Vaughan Williams, Britten, and Elgar, alongside the London Symphony Orchestra principals.

Performance Date: June 28, 2025

The post Allan Clayton, Benjamin Appl, Sophie Bevan, Claire Booth, Lotte Betts-Dean Headline Aldeburgh Festival 2025 appeared first on OperaWire.

The opera explores the real-life experiences of a U.S. Army chaplain with the story centering on Mary Raven, who runs away from a harsh father and becomes Lieutenant Mary James. It features music by Theodore Christman, Gary Vincent Koda, Vita Koreneva, Akihiro Masuda, Stéphane Tesan, and Jeff Shankley.

“Each composer has something special to offer, and all of their music comes together to form the arc of a story with a joyous ending that will lift your eyes to hope,” said librettist Susan Conti per an official press release.

Headlining the production are Madison Marie McIntosh, Randa Rouweya, José Miguel Sacin, Steven Andrew Murray, and Janghyo Yoo.

The performance kicks off at 8 p.m. local time.

The post Voices of the Valiant to Present ‘3:16’ appeared first on OperaWire.

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Opera

Bas Wiegers conducts Michael Jarrell’s “Kassandra” with actress Dagmar Manzel and the Ensemble Modern.

Performance Date: July 23, 2025

Salvatore Sciarrino’s “Macbeth” will be conducted by Vimbayi Kaziboni. Cody Quattlebaum, Alice Rossi, Leonardo Cortellazzi, Iris van Wijnen, and Davide Giangregorio.

Performance Date: July 25, 2025

Christophe Dumaux stars in Handel’s “Giulio Cesare in Egitto” with Olga Kulchynska, Lucile Richardot, Frederico Fioro, Yuriy Mynenko, Andrey Zhilikhovsky, and Jake Ingbar. Emmanuelle Haïm conducts the production by Dmitri Tcherniakov.

Performance Dates: July 26-August 17, 2025

Peter Sellars will direct Mahler/Schoenberg’s “One Morning Turns into an Eternity.” Esa-Pekka Salonen conducts a cast that includes Ausrine Stundyte and Wiebke Lehmkuhl. The evening consists of “Erwartung” and “Der Abschied.”

Performance Dates: July 27-August 18, 2025

Cecilia Bartoli, Varduhi Abrahamyan, Lea Desandre, Philippe Jaroussky, and Angela Winkler star in “Hotel Metamorphosis,” a pasticcio with music by Antonio Vivald in two acts. Gianluca Capuano conducts the production by Barrie Kosky. 

Performance Dates: July 31-August 15, 2025

Pene Pati leads in Mozart’s “Mitridate” with Sara Blanch, Elsa Dreisig, Paul-Antoine Bénos-Djian, and Julie Roset. Adam Fischer conducts Birgit Kajtna-Wönig’s semi-staging.

Performance Date: August 4, 2025

Kate Lindsey and Lisette Oropesa star in Donizetti’s “Maria Stuarda” with Bekhzod Davronov, Aleksei Kulagin, and Thomas Lehman. Antonello Manacorda conducts the production by Ulrich Rasche.

Performance Dates: August 1-30, 2025

Peter Eötvös’s “Three Sisters” will feature the talents of Dennis Orellana, Cameron Shahbazi, Aryeh Nussbaum Cohen, Kangmin Justin Kim, Mikołaj Trąbka, Ivan Ludlow, Jacques Imbrailo, Andrey Valentiy, Jörg Schneider, Jens Larsen, Anthony Robin Schneider, and Kristofer Lundin. Maxime Pascal and Alphonse Cemin conducts the production by Evgeny Titov.

Performance Date: August 8-24, 2025

Vladislav Sulimsky and Asmik Grigorian star in Verdi’s “Macbeth“ with Tareq Nazmi, Charles Castronovo, and Joshua Guerrero. Philippe Jordan conducts the revival of Krzysztof Warlikowski’s production.

Performance Date: August 9-29, 2025

Mozart’s “Zaide oder Der Weg des Lichts” will be conducted by Raphaël Pichon and will star Sabine Devieilhe, Lea Desandre, Julian Prégardien, Daniel Behle, and Johannes Martin Kränzle.

Performance Dates: August 17-22, 2025

Piotr Beczala stars in Giordano’s “Andrea Chénier” with Luca Salsi and Elena Stikhina.

Performance Date: August 25, 2025

Helena Sorokina, Marco Sala, Krassimir Sterev, Friederike Kühl, Hugo Paulsson, Jan Petryka, Manuel Alcaraz Clemente, and Alexander Bauer lead a program of music by Beat Furrer, Orlando di Lasso, and Arvo Pärt.

Performance Date: July 20, 2025

Friederike Kühl, Johanna Vargas, Johanna Zimmer, Iva Kovač, Marco Sala, Markus Wallner, David Pirrò, Cantando Admont, and Cordula Bürgi perform Luigi Nono’s “Io, frammento dal Prometeo.”

Performance Date: July 21, 2025

Raphael Höhn, Lionel Meunier, Carine Tinney, Stefanie True, Jan Kullmann, William Shelton, Florian Sievers, Vojtěch Semerád, and Sebastian Myrus lead Bach’s “St John Passion.” The Vox Luminis and Freiburger Barockorchester are conducted by Lionel Meunier.

Performance Dates: July 22-23, 2025

Christoph Waltz, Allan Clayton, Marina Viotti, Michael Volle, and Albert Dohmen star in Stravinsky’s “Oedipus Rex.” Lorenzo Viotti conducts.

Georg Nigl, August Diehl, and Alexander Gergelyfi take on Mozart’s “Nachtmusik.”

Georg Nigl, August Diehl, and Alexander Gergelyfi perform a “A Schubertiade.”

Gianluca Capuano conducts Mozart’s Missa in C minor K. 427 with soloists Mélissa Petit, Patricia Nolz, Anthony León, and José Coca Loza.

Performance Dates: August 6 & 7, 2025

Bogdan Volkov and Manuel Winckhler perform Mozart alongside the Salzburg Bach Choir and Mozarteum Orchestra Salzburg and conductor Roberto González-Monjas.

Performance Dates: August 9 & 10, 2025

Georg Nigl and Alexander Gergelyfi perform Schubert’s “Die schöne Müllerin.”

Performance Dates: August 14 & 15, 2025

Ying Fang, Wiebke Lehmkuhl, Pavol Breslik, and William Thomas lead a program of music by Schubert and Bruckner. The Vienna Philharmonic will be conducted by Riccardo Muti.

Performance Dates: August 15-17, 2025

Regula Mühlemann and Alexander Melnikov perform Mahler and Shostakovich with Utopia and Teodor Currentzis.

Performance Date: August 18, 2025

Sarah Aristidou leads a program of works by Ravel, Boulez, and Varèse with the Klangforum Wien Orchestra and conductor Sylvain Cambreling.

Performance Date: August 23, 2025

Elza van den Heever, Stanislas de Barbeyrac, and John Relyea perform Act one of Wagner’s “Die Walküre.” Yannick Nézet-Séguin conducts the Vienna Philarmonic.

Performance Dates: August 23 & 24, 2025

Masterclass

Julian Prégardien leads a masterclass with participants of the Young Singers Project.

Performance Date: August 3, 2025

Stéphanie d’Oustrac leads a masterclass with participants of the Young Singers Project.

Performance Date: August 15, 2025

The post Lisette Oropesa, Asmik Grigorian, Jonas Kaufmann, Diana Damrau, Cecilia Bartoli & Sabine Devieilhe Lead Salzburg Festival’s 2025 Season appeared first on OperaWire.

The management company noted that Miguel Rodriguez, President & Founder of Athlone Artists met both when they were in emerging artist programs, and has followed their careers with great enthusiasm.

He said, “When I first heard Evan K. Brown at the Glimmerglass Festival, I thought, ‘here is a natural spinto tenor in the making. Evan’s ringing tenor voice combined with his elegant presence on stage makes him the ideal leading tenor for today’s audiences!”

He added, that Sander is a “compelling young baritone.”

Brown has performed the title role in “Les Contes d’Hoffmann,” Rodolfo in “La Bohème,” Don José in “Carmen,” Luigi in “Il Tabarro,” Harlekin in “Der Kaiser von Atlantis,” and Hermann in “The Queen of Spades.” He has performed at the Charlottesville Opera, Glimmerglass Festival, Austin Opera, and Texas Bach Festival, among others.

Meanwhile, Sanders has performed at the Indianapolis Opera, Skylark Opera Theatre, Opera San José, Madison Opera and Opera Today. His repertoire includes the music of Verdi, Mozart, Puccini, and Donizetti, among others.

The post Evan K. Brown and Baritone Jeremiah Sanders Join Athlone Artists appeared first on OperaWire.

Opera San José is set to present an all-new production of Béla Bartók’s one-act opera “Bluebeard’s Castle.”

The work will be directed by OSJ General Director/CEO Shawna Lucey and will be conducted by Opera San José Music Director Joseph Marcheso.

The psychological thriller, which follows a woman who uncovers terrifying corners of her new husband’s dark past while unlocking rooms in his eerie home, will star Zachary Nelson in his OSJ debut and Maria Natale as Judith.

Nelson is a well-known singer who has performed at the Atlanta Opera, Palm Beach Opera, Florentine Opera, Opera San Antonio, Lyric Opera of Chicago, and Santa Fe Opera while Natale has performed at the Opera San José, Tulsa Opera, and Sarasota Opera.

“Bluebeard’s Castle” will be performed from Feb. 15 to March 2, 2025 at the California Theatre.

The post Opera San José to Present ‘Bluebeard’s Castle’ appeared first on OperaWire.

Whether Nietzsche actually meant it when he declared Bizet’s “Carmen” to be the perfect opera, or whether it was merely a literary tantrum aimed at his once-beloved Richard Wagner, it matters not. The resounding overture to “Carmen” provides its own argument as to the opera’s justified and beloved place in the canon.

Love is a rebellious bird—”L’amour est un oiseau rebelle”—Carmen insists, in her renowned opening Habanera, a Cuban-influenced dance of seduction that immediately raises every pulse. Making her American debut as Bizet’s fiery centerpiece, Swiss mezzo-soprano Eve-Maud Hubeaux clearly embodies the gypsy child who only loves whomever doesn’t love her. From a stiff swirl of angular gestures and tight vocalizing, Hubeaux soon loosened and slipped into character as a haughty wanton. Once the second act arrived, Hubeaux had relaxed with obvious comfort and abandon into the role of Bizet’s mercurial temptress. The proudly proclaimed changeability of Carmen’s lusty temperament is key both to her personality, and to the plot pivots to follow. Bringing a fluent instrument to the flamboyant role, with spinto to spare, Hubeaux’s stage choreography came to match the vocal demands by the second act.

Sensuous mise en scène

The rich colors and bright textures of Bizet’s score cast their immediate and predictable spell from the opening note of last week’s matinee performance, the 35th presentation of the opera at San Francisco Opera originally created and directed by Francesca Zambello of Washington National Opera.  A centerpiece of the mid-to-late 19th century European craze for exotic themes and locales, the opera is now a leading crowd-pleaser in the standard repertoire. But in 1874, its debut was considered outrageous. Taken from the novella by Prosper Merimée, “Carmen” was filled with smugglers, gypsies, street people, lecherous soldiers, tobacco factory workers, cigarette-smoking floozies, dark-skinned Romani women on the prowl for, what else?, “l’amour!”

Hardly the stuff of proper opera, even the opéra comique. With one foot in the 19th century, the other in the 21st, the incendiary character of Carmen is a free spirit, full of fire and appetite for a steady stream of new lovers. Quickly attracting and discarding her willing admirers, she is true only to herself. But when she tosses a red rose in the direction of corporal Don José, we start to wonder whether she might not have actually fallen in love.

Flexing her voice up and down her wide tessitura, Hubeaux tackled arias so familiar and delicious that most of the audience struggled to keep from humming along. Bizet’s compelling orchestration was in good hands with guest conductor Benjamin Manis who led the excellent San Francisco Opera orchestra through a confident unflagging pace, the conductor’s sensitivity to tempo matching the needs of the singers. Everyone on the stage was audible, never obfuscated by overly-enthusiastic brass, from the high-spirited youth performers to the impeccable Opera Chorus, all clearly enjoying themselves in an Iberian love-death tale that allows for plenty of sassy fun.

The spare set created an instantly legible mise en scène. Adobe walls of the garrison patroled by uniformed guards atop the ramparts. In the central plaza workers from the adjoining tobacco factory burst forth in the opening moments, excited by a brawl erupting among the Romani women. The warm tones of the plaza and the women’s swirling skirts and leather bodices contrasted smartly with the grey-blues of the soldier’s uniforms.

Carmen’s Cohorts

However much this is the tale of desperate love, Carmen hews to the operatic trope contrasting innocence and worldliness. As the sweet country girlfriend of Don José, Louise Alder’s Micaëla has a difficult road to hoe. Alder had some lovely moments, lifting her clear soprano up to pray that her childhood sweetheart would somehow resist temptation and return home to the countryside. Usually played for unsophisticated sweetness, Alder’s portrayal was notably on the flirtatious side. Her scenes with the uncouth garrison soldiers showed her to be more of a player than a prayer. As a result, the contrast between her character and that of Carmen was less than clear. The costumes, Micaela’a pale blue frock and Carmen’s off-the-shoulder peach and crimson tones, marked the women as opposing rivals for the affection of Don José. But the role required unequivocal innocence. And Alder’s prominent vibrato threatened to derail some lovely singing, elegant passages of pleading and quiet moments of acceptance, and occasional beautifully-spun topnotes. Alas, he has chosen Carmen. And we all know it.

Opening in the tavern Lillas Pastia, Act two was ablaze with some of the finest musical moments of both the opera and this production. From the flamenco choreography by Associate Director Anna Maria Bruzzese, sensuous and graceful dancing by the corps principals, to the inventive staging of the two lead smugglers and Carmen’s playful Romani girlfriends, this was the memorable center of the melodrama. Terrific production design by Tanya McCallin and tight choreography (kudos to Dance Master Colm Seery) made the obligatory dance numbers (obligatory by 19th century operatic standards) genuinely enjoyable and narrative-enhancing. Enlivening each sinuous movement, special praise goes to Blanche Hampton as Manuelita and exciting corps partner Brett Conway. Achieving an almost perfect blend of voices, the singers were herded through the tralalalas by the orchestra’s sudden decision to rush the beautiful quintet. And given the pace set by Bizet’s orchestration, this led to a few moments that veered into incomprehensible diction. But the tight vocal balance in this intricately composed ensemble piece was luscious.

Not only do Adler Fellows soprano Arianna Rodriguez as Frasquita, and mezzo-soprano Nikola Printz bring brio to their acting, but astute vocal sensitivity as well. Rodriguez’ flashing beauty and superb soprano predict title role of Carmen for her own in the near future. The trio of women’s voices were joined by two fine actors with vocal dazzle and acting panache to match: tenor Christopher Oglesby’s Dancaire and Alex Boyer as Remendado, as assured a pair of smugglers as Mérimée ever dreamed up.

Coup de théâtre

And then came a singular coup de théâtre as Escamillo, the toreador actually rode onto the stage astride a live horse! It was an amazing moment, as the beautiful 18-year-old Gypsy Vanner gelding pranced into the assembled company and posed as if for a Velasquez portrait in the center of the stage. As the bullfighter bass/baritone Christian Van Horn looked 200 percent the part. His stage presence and robust masculinity filled in some of the rough edges of his vocal delivery, notably the lowest notes of his bass/baritone tessitura that descended into rumble at the ends of phrases. Nonetheless, his abundant stage presence made up for vocal inelegance. After his triumphant horseback declaration, en garde! he cast his eyes on Carmen, who insisted that she was footloose and didn’t need love from anyone. But of course he’d take that bet, and rode off to keep his date with the bull ring.

The quintet that follows treated us to some of Bizet’s finest writing. As the smugglers and girlfriends try to convince Carmen to come with them on their mountain foray, she insisted she won’t because she thinks she’s fallen in love. Yes, she is that mercurial. “Je suis amoureuse!” she proclaims.

Tetelman’s Irresistible Serenade

In “Carmen,” Bizet has given us an impetuous anti-heroine who is psychologically unknowable but always compelling. As her acting and singing gained footing, Hubeaux shined in her role’s opéra comique intimacy and earthiness, with spoken passages entwined with lilting arias. The speaking further grounds this opera with an appealing accessibility. We feel, thanks to music and staging that we are in the midst of a real place, whose inhabitants’ lives are filled with relatable hopes and dreams.

When Don José, fresh from two months in prison, again met up with his paramour, we began to get a fuller picture of tenor Jonathan Tetelman’s ownership of his role. His duet with Carmen wove a vibrant picture of the tragedy to come. He hasn’t been able to forget her, or the flower she gave to him. She, as always, is of two minds. Conductor Manis kept the orchestra firm and mezzoforte so that we could hear both voices as they engage in a musical negotiation, part declaration of love, part true or dare.

As she sang and danced just for him, Hubeaux kept rhythm with castanets. The effect should have been hypnotic. Instead, watching her negotiate the wooden hand cymbals was distracting, both to us, and apparently to her as well. The need to carefully manipulate the hand-held percussion removed the easy sexiness needed to deliver the song. Neither effortless nor seductive, it looked like a chore that she had worked hard to memorize. As he declared his love, Carmen rejected him and mocked his refusal to come with her to the mountains. Here Hubeaux did a fine job of demonstrating Carmen’s ability to seduce by mockery with her sarcastic rendition of the Taratata aria.

Au Revoir Innocence

Ah yes, but what of the other woman? Micaela, valiantly sung by Louise Alder, is a thankless role. She must be able to tempt Don José with her innocence (and the message that his mother is dying), while admitting that what she offers can’t compare with the captivating Carmen. She even suffers the humiliation of overhearing the two rivals, Escamillo and Jose fighting over Carmen in the mountain hideout of the smugglers. Satisfied that he is Carmen’s favorite, Escamillo invites the entire company to his bullfight in Seville. As the preening matador, Van Horn makes the most of his time onstage. His braggadocio provides the sort of powerful allure that would appeal to Carmen. Van Horn has confidence to burn, and as the two rivals continue their pursuit of the Roma temptress we see the matador grow strong while José grows desperate. Terrific acting amplifies the swirling tragedy conveyed by Bizet’s score. Peeling away more layers of reserve, Tetelman’s José starts coming unglued in his resolve to win Carmen. The tenor was utterly convincing in his realization that there would be no happy ending to his passion. Particularly compelling was his ability to maintain secure intonation and projection, even as his voice acquired more urgency. He offered a beautiful, burnished tone as well as convincing anguish. Dark eyes flashing with desperation, Tetelman acted with his entire body, long dark hair falling into his eyes as he implored Carmen to accept his love. All of this enhanced by the fact that Tetelman is matinee idol handsome.

The final act was charmingly staged, from the children’s chorus prancing about like little toreadors, to the various towns folk, astonished at the beauty of the banderilleros and picadors.

The pageantry the city offset the tale of hot and reckless love, brilliantly displayed in the colorful costumes, flags, flashing gold ornaments, and the marching soldiers parodied by the ruffian children. Entering the plaza in triumph with Escamillo, Carmen was now transformed by a magnificent gown and festive mantilla. The brilliance of this moment was again thanks to designer Tanya McCallin. The richly costumed couple sing of their love for each other, with Carmen pronouncing the fateful line: may I die if I have ever loved anyone as much as you!

Just who might she have loved more than this bull fighter? Alone on the stage, Carmen is confronted by the love-sick José.

Rising Star

In his final entreaty to Carmen that she come with him, that he loves her madly and will not let her go, Tetelman ascended with a powerful yet silken legato up to an astonishing top of his range, holding the suspension with only the slightest, poignant bit of cover. Here the actor and singer became a single instrument, stopping the show while the audience responded with an exuberant ovation. Much deserved. It was one of those powerful moments that underscore exactly why nothing can ever take the place of live performance. Tetelman was embedded in his role as the love-stricken soldier from the very first. Yet he took his time unleashing the full power of both his character, and his voice.

Matching the evolution of Hubeaux’ ill-fated yet defiant Roma, Tetelman was convincingly obsessed with his sometime lover. The more she rejected him, the stronger became his desperation. The passionate young tenor was exactly what Bizet wanted. Capable of wearing his heart on his sleeve, wringing the agony out of each aching legato line, Tetelman built steadily from dimenuendo to soaring fortissimi. The long lines ended with clear, notes held just long enough to break our hearts. Never too showy, this was bravura acting matched with superb vocalization.

Amidst captivating performances by tutti, Jonathan Tetelman stood out. An authentic star in a dazzling production. 

The post San Francisco Opera 2024-25 Review: Carmen appeared first on OperaWire.

Maiolati, a small Italian municipality of just six thousand inhabitants located in the province of Ancona, at the heart of Italy, preserves an important cultural legacy. In this serene village, Gaspare Spontini was born in 1774, a composer who, during his time, achieved extraordinary fame and recognition. However, over the years, his name and works have gradually fallen into oblivion. As a tribute to its illustrious son, the town adopted the name Maiolati Spontini in 1939, thus perpetuating the memory of one of the great masters of composers of his era.

In 2024, as part of the celebrations for the 250th anniversary of his birth—an event aiming to restore the memory of this unjustly forgotten creator—an ambitious co-production was organized between the Pergolesi Spontini Foundation, the Alighieri Theater in Ravenna, the Verdi Theater in Pisa, and the Municipal Theater of Piacenza. The chosen title could be none other than “La Vestale,” Spontini’s most iconic work, whose impact is intended to be vindicated in the face of the parallel celebrations for Puccini’s anniversary.

“La Vestale,” premiered at the Opéra de Paris in 1807, marked a turning point in the evolution of musical drama by blending the grandeur of classicism with the emerging Romantic fervor of the era. Étienne de Jouy’s libretto narrates the tragedy of Julia, a priestess of the Temple of Vesta, condemned to death for breaking her vow of chastity after falling in love with the victorious general Licinius. Just before her execution, the sacred flame of Vesta—extinguished during the lovers’ embrace and the cause of her condemnation—spontaneously reignites. This phenomenon is interpreted by the other priestesses as a sign of divine approval, allowing the couple to live in peace and granting the opera an unexpected happy ending.

This work not only embodies Napoleonic ideals of heroism and sacrifice, but also builds a bridge between opera seria and the spectacularity of grand opéra. For this occasion, the French version was chosen, using a libretto that reflects the modifications implemented during the original season more than two centuries ago. Thanks to the study of the autographed score preserved in Paris, it was possible to identify the variations made by Spontini himself, particularly the ballets, which, following French tradition, were added at the end of the first and third acts.

Musical Highlights

Spontini’s ability to weave intense drama through the orchestra and chorus, imbuing the characters with emotional depth, found an ideal interpreter in Alessandro Benigni. The conductor led the Corelli Orchestra with a meticulous and stylistically precise interpretation. The score presents significant technical challenges: classical nuances and ornamentation in the style of Mozart or Haydn blended with harmonies and passages clearly influenced by Beethoven. Benigni’s mastery lay in striking the perfect balance between these styles. From the solemn overture to the lyrical moments of the arias and ensembles, and through the crystalline ballets, the Italian maestro managed to balance ceremonial majesty with the protagonists’ intimate emotions. The orchestra responded with outstanding precision to the conductor’s demands, achieving a full and vibrant sound while carefully managing dynamics to support the singers.

The Municipal Theater of Piacenza Choir, directed by Corrado Casati, gave a powerful performance that captured the ritualistic and tragic atmosphere. The chorus embodied both the vestal priestesses guarding the temple and the Roman populace, contributing significantly in key moments such as the imposing climax “Ô terreur! Ô disgrâce!”, in which they condemn Julia, and in the celebratory “Chants d’allégresse aimable ivresse,” which exalts divine intervention at the couple’s wedding.

In the complex role of Julia, the priestess torn between her vow of chastity and her love for Licinius, Carmela Remigio delivered an outstanding performance. Her portrayal sensitively captured the character’s internal struggle, particularly in the recitative “Sur cet autel sacré” and the aria “Impitoyables dieux,” where she pleaded to the gods with refined phrasing, controlled vibrato, and superb acting. Her middle register was dreamlike, though some slightly pale high notes prevented her upper register from being perfect. Her farewell in the third act “Toi que je laisse sur la terre” in which she accepts her fate with resignation and bravery, was profoundly moving, making her performance one of the evening’s highlights. Remigio shone not only for her vocal quality but also for her impeccable acting.

Bruno Taddia brought an intense stage presence as Licinius, the Roman general who defies sacred laws for his love for Julia. Although he lacks a particularly attractive timbre, the Lombard baritone conveyed his character’s fervor and despair through expressive physicality. Taddia grew in strength and conviction throughout the opera, particularly shining in his duet with Remigio, “Adieu, mes tendres soeurs.” The role of Cinna, Licinius’s loyal friend who seeks to mediate between duty and passion, was performed with elegance and remarkable musicality by Joseph Dahdah, who proved to be a delightful surprise. The Lebanese tenor offered a clear, youthful, and refined vocal line, along with appropriate power.

Daniela Pini, as the Great Vestal, stood out for her severe yet maternal portrayal, charged with maintaining the temple’s purity and judging Julia. Though somewhat restrained vocally and dramatically in the first act, her interpretation grew significantly stronger as the opera progressed. Adriano Gramigni, as the Supreme Pontiff, provided a solemn and convincing presence, representing the divine authority challenged by Julia.

Illuminating Production

Scene director Gianluca Falaschi, also responsible for the set and costume design, incorporated an implicit tribute to Maria Callas, who achieved extraordinary success with “La Vestale” at La Scala in Milan during the 1950s. In the program notes, Falaschi highlighted the parallel between Julia and Callas, asserting that both women faced relentless pressure, crushed by societal expectations and the weight of their personal legends. This visual approach balanced classical austerity with minimalist touches, combining stylized columns and costumes that merged elements of Roman antiquity, such as white togas, with modern details like tuxedos and evening gowns.

Special mention goes to the eight dancers who, under Luca Silvestrini’s choreography, masterfully performed the two extended ballets with contemporary technique, particularly shining in the luminous finale. The audience unanimously applauded this celebration of Spontini’s 250th birthday, which, despite being overshadowed by Puccini’s anniversary, successfully revived this historical gem with excellence.

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The showcase, which will take place at the David Rubenstein Atrium on Dec. 6, 2024, will reframe the classic masterwork through a modern lens. The production was conceived by  Colombian soprano, TOND founder, and Bedford-Stuyvesant resident Sasha Gutiérrez, stage director Rebecca Miller Kratzer, and Latin GRAMMY Award-winning bassist and composer Pedro Giraudo and features a tango adaptation of the score in a new Spanish translation with English subtitles.

The opera stars Melisa Bonetti in the title role alongisde Juan Hernández as José, Sasha Gutiérrez as Micaela, and José Luis Maldonado as Escamillo. Tango dancers Mariana Parma and Leonardo Sardella interpret Carmen and José, respectively. It also features The Pedro Giraudo Tango Quartet.

Rebecca Miller Kratzer directs.

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