This ought to have an effect on my reader stats! Renee Fleming as Ariadne

This is a very recent performance in Baden-Baden.

I'm not a Renee detractor per se, although I question some rep choices she has made over the years.  Even as a woman "of a certain age" she makes really glorious sounds.  In this video, my questions are about some of the apparently arbitrary acting movements ("OK, this is where I make the cross", "OK, this is where I turn back to the audience because I'm going to sing at them in a moment").  Usually that is not my experience with dear Renee's acting.

I will include some videos of other renowned Ariadnes, not for Renee-bashing--this is a bash-free blog--but for added insight.

Great Singer of the Week--Barbara Bonney

Facebook has been telling me quite often recently that I should seek Barbara Bonney's friendship--not her fan page, which I already "like", but rather her personal page. I'm a great admirer of her singing, but she doesn't know me from any other stalker out there Adam.  Normally this blog features singers who are no longer singing--usually because they are no longer with us--but I took this as a sign that I should feature the lovely Miss Bonney here.  Or maybe I'm desperately seeking new content.  No, that can't be it.  It's a sign from above.  Or Facebook.

I have long been an admirer of Barbara Bonney's singing. I've only heard her sing live once, in a concert at Carnegie Hall. Of course I've heard many recordings and seen many YouTube videos.  Happily for everyone, she is still singing, and also very active with teaching and master classes.

Guest Blogger Jamie Henderson Reports on Norma at Opera North

Please welcome new guest Taminophile blogger Jamie Henderson, known as jshenderson on Twitter, where his profile describes him as:

lover of opera, lieder, classical music, the odd musical, the occasional play and all things Whedon. Apple-addicted. Strictly Obsessed. Gleek. Also, glutton.

Jamie reviews Norma, my favorite opera, as performed by Opera North.

Bellini’s Norma

Opera North at Leeds Grand Theatre, United Kingdom

February 16, 2012

Norma : Annemarie Kremer

Adalgisa: Keri Alkema

Pollione: Luis Chapa

Oroveso: James Creswell

Flavio: Daniel Norman

Clotilde: Gweneth-Ann Jeffers

Chorus and Orchestra of Opera North 

Oliver von Dohnányi, conductor

Christopher Alden, director

Staging Bellini’s Norma is, in the UK at least, not a decision that an opera company takes lightly.  The  Royal Opera House, for example, has not staged the piece for twenty-five years (two concert performances, with Nelly Miricioiu as Norma, were given some twelve years ago).  Norma has also been staged by Opera Holland Park and by Scottish Opera, but performances have hardly been abundant.

It is not too difficult to work out why the opera has been performed so rarely.  It is nothing to do with the quality of the opera itself, which is arguably Bellini’s masterpiece and is certainly his most dramatically effective and moving work. No, the main reason must be the monumental demands made of the soprano who undertakes the title role.  Created for the great Giuditta Pasta and subsequently taken by Giulia Grisi (who was in fact the first Adalgisa) the eponymous heroine is still closely associated with the towering figures in bel canto singing in the twentieth century, namely Maria Callas, Joan Sutherland and Montserrat Caballé.  Such singers - that is, those who can combine power with elegance, can invest coloratura filigree with feeling and purpose, and possess  stamina, dramatic stage presence and a wide vocal range - do not grow on trees.  They are certainly not the sort of sopranos that one expects to hear at Opera North.  But that is what Opera North provided for us in Annemarie Kremer, who was a quite magnificent Norma.

Kremer impressed from her very first notes - her opening recitative ‘Sediziose voci’ was imperiously delivered and  the aria itself, ‘Casta Diva’, seemed almost effortless, the repeated top notes well within her range, the voice itself beautiful in colour. The florid passages of her cabaletta (both verses) were well executed, and she capped the whole thing with a strong top C.  Impressive though she was here, she went from strength to strength as the evening progressed and met almost every demand that Bellini made of her (and a few more that he didn’t - she interpolated a top D in the act 1 finale, and a high E flat in her Act 2 duet with Pollione).  And though she had an impressive upper extension, she was no vapid nightingale.  She blended beautifully with the Adalgisa in their duets, brought power and venom (and was not afraid to dip into her chest register) to ‘Ah non tremare’ when Norma realised Polllione’s infidelity, and great pathos to the finale, in which Norma sacrificed herself to die with the man she loved, and to protect her rival Adalgisa.  

I did write that she met almost every demand.  I should mention that her voice, though well projected, was not huge; though she was always audible from the stalls, friends who were higher up in the building said she could not quite dominate the louder ensembles.  She possesses a strong but slender (not ‘fat’) instrument, which some may not consider ideal, and which would not make the same impact on the stage of the Met that it did in this much smaller theatre.  She could not - or chose not to - trill; so those threatening rising trills on ‘Adalgisa fia punita’ were not present.  Her Italian was very good, if not always crystal clear.  But overall, she was a revelation.

So was the Adalgisa, Keri Alkema, who in terms of sheer quality of voice was perhaps even more impressive.  Her middle register was extremely sumptuous, and gorgeous in quality.  Her opening phrase, ‘Deh, protegemi o Dio’ quite literally took my breath away, it was so richly sung.  She is billed as a soprano (she recently sang Mimi for Glyndebourne on Tour), and though she sang several top Cs very well, it was that glorious middle register that remains in the memory, which leads me to wonder if she might one day turn to the lyric mezzo repertory.  Having said that, Adalgisa was actually written for a soprano, though it is most often taken by mezzos.  Whatever label one applies to her, I can confirm that she was as good an Adalgisa as I’ve heard, right up there with Elina Garanca, Sonia Ganassi and Silvia Tro Santafé.

Bass James Creswell provided stentorian support as Oroveso (fortunately, he possesses a voice of good quality as well as a loud one), and Daniel Norman was an excellent Flavio, who was given more acting to do in this production than is normally the case.  The main disappointment was the raw-toned Pollione, Luis Chapa, though he certainly threw himself into the role.  Gweneth-Ann Jeffers was in croaky voice as Clotilde.

Great work too from the chorus and orchestra of Opera North, and the excellent conductor Oliver von Dohnányi, who performed the score with very few cuts, as far as I could tell.  He led a too sprightly account of the overture, but the opera itself was highly dramatic and had forward momentum but was also singer friendly - there was no sense of the performers being hurried along, or being unable to savour a musical phrase.  

A word or two about the production.  It has raised a few eyebrows.  Christopher Alden doesn’t do traditional, so there were no Druids or Romans in sight.  Rather, Norma’s community appeared to be some sort of cult and looked rather similar to nineteenth century American pioneers, and the one set was the rather plain interior of a barn.  Pollione and Flavio were portrayed as rather ghastly intruders in this community (which of course they are), and were dressed in late nineteenth century style black suits and top hats.  Taken on its own terms, the concept worked well and certain scenes were especially effective: the Norma-Adalgisa ‘Oh rimembranza’ duet, for instance, where they writhe in each others arms as they both recall their memories of their lover, Pollione; and the final scene, where Norma is shunned by her people when they realise her hypocrisy.  One is unlikely to get such emotionally raw moments in more traditional stagings of bel canto works, sadly.

So, an opera which strikes fear into the heart of many international companies has been met head on - triumphantly - by Opera North.  I can only hope that the excellent reviews, and near-full houses, will encourage them to make further forays into the bel canto repertoire, and that they will have both Annemarie Kremer and Keri Alkema on speed-dial.

RIP Elizabeth Connell

This week soprano Elizabeth Connell left this world for the next.  I'm sorry I never saw her live, and really didn't know how amazing she was until recently. There is no Wikipedia article, which might be better, given Wikipedia's occasional inaccuracies.  Here (link) is a 2008 interview with her that is actually quite enlightening.  Here (link) is a tribute on her management company's web site.  And now for the videos!

The Liebestod from Tristan und Isolde, 2010, cond. Jan-Latham König

The riddle scene from Turandot. Conductor, opera house, Calaf uncredited.  Name me another singer in her 60s who can do this.

In questa reggia from the same performance

Macbeth, 1987, Rome, cond. Giuseppe Patane

Look y'all! I'm famous!

Fabulous blogger Gale Martin has written a profile on moi in her blog Operatoonity.  Go.  Click.  Read.

Second-tier Verdi, or the Best of the Rest

I have a confession to make.  At my advanced age, and as much as I call myself an opera queen bel canto bear, there are some chestnuts I simply haven't ever seen.  Der Fliegende Hollander.  Macbeth.  Manon.  Until last night, Ernani was on that list, too.  I was excited to see it because it's Verdi and because the star was Angela Meade.  I can happily say that neither Mr. Verdi nor Ms. Meade disappointed me.

Ernani is the fifth of Mr. Verdi's 28 operas.  I'd call it second-tier Verdi, among the best of the rest.  It's not Rigoletto or La Traviata, but it's not without charm or merit.  The story is based on a play by Mr. Hugo of Les Miserables fame, whose play Le Roi s'Amuse later provided the inspiration for Rigoletto.  The libretto is by Mr. Piave, with a lot of input from Mr. Verdi.  The story is typically upper-case-R Romantic:  Boy loves girl.  Old fart loves girl.  King loves girl. (She certainly did get around!)  In the end boy and girl are "united in Heaven" and nobody gets what he wants. Except for the King, who becomes the Holy Roman Emperor and doesn't mind about the girl so much any more.  All of this happens to stunning music by Verdi, with typically sweeping melodies and rhythmically driven orchestral accompaniments.

Photo by Devon Cass

I've written before about my affection for Angela's singing.  (We're on first names basis since I did a profile of her.)  I love the even sound throughout her very wide range, the color of her voice, the apparent ease with which she sings just about everything.  I saw her Norma at Caramoor in 2010, her Anna Bolena last October at the Met, and now her Elvira in Ernani.  Yep. She's got the goods.  Last night I heard a more burnished sound, a greater richness to her already beautiful voice.  And of course she looked fabulous!

A very accomplished tenor recently pointed out to me that the reason Mr. Pavarotti was so successful in Verdi roles that might seem like a stretch for a lyric voice is that the roles lie very high--passaggio and above, where Pavarotti really shone.  Often today I hear singers with large voices who appear to focus so much on a big sound that they don't seem to have the brilliance in their high voices that they're capable of.  One such tenor is young Roberto De Biasio, last night's Ernani.  He is a good singer, to be sure, and he's certainly working in very prestigious houses, but to my ear he is not on the same level as the rest of the cast.

Courtesy MetOperaFamily.org

Dmitri Hvorostovsky, that white-maned barihunk, sang Don Carlo, and I must say I was enthralled.  Even from the balcony, I was impressed by his imposing presence, and his singing was beautiful and smooth and, like Ms. Meade's sounded easy.  Listening to this man's singing is always a pleasure.  Ferruccio Furlanetto, even at 62, can hold us spellbound with his singing and his presence.  He deserved the huge ovation he was awarded at the end of the opera.

The Met chorus and orchestra are always fabulous, but I must say there seemed to be some occasional differences of opinion between them and conductor Marco Armiliato, which is quite unusual in my recent experience.

And I can't say I'm crazy about the directing.  I think several of the singers could have used much stronger direction, and I was not kidding when I tweeted at intermission "I don't have a score in front of me--does it say 'Chorus mills about randomly'?"

So to sum up the evening:  Singing, fabulous overall; conducting, usually pretty good; directing, meh.