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Geneva Anderson digs into art

San Francisco Opera’s “Luisa Miller” closes with a stand-out performance from tenor Michael Fabiano

American tenor Michael Fabiano, recipient of the 2014 Richard Tucker Award and the 2014 Beverly Sills Artist Award, is Rodolfo in San Francisco Opera’s “Luisa Miller.” Photo: Cory Weaver, SFO

American tenor Michael Fabiano, recipient of the 2014 Richard Tucker Award and the 2014 Beverly Sills Artist Award, is Rodolfo in San Francisco Opera’s “Luisa Miller.” Photo: Cory Weaver, SFO

At San Francisco Opera’s (SFO) Sunday matinee performance of Verdi’s Luisa Miller, all eyes and ears were on tenor Michael Fabiano and rightly so─his Rodolfo was inspired, powerful.  The tall, dashing 30 year-old embodied the aristocrat loved by two women, the son who defies his father and the unwitting pawn in a political intrigue that leads to murder.  How trilling to behold a young singer nail a performance and to find yourself rising to your feet, whopping and whistling for him out of pure joy, knowing in your bones that you have just witnessed one of the great tenors in opera. Fabiano, 30, is the recipient of the 2014 Richard Tucker Award and the 2014 Beverly Sills Award, the first person in history to win both awards in one year.

Sharing the glory was young soprano Leah Crocetto, in the title role, alum of the Adler and Merola programs, who sang beautifully as well.  Actually it’s a match that’s been in the works for some time─ Crocetto and Fabiano sang Mimi and Rodolfo in SFO’s La Bohème in 2014 but never sang together as they were in separate casts.  Each garnered great reviews.  Fabiano went on to sing Rodolfo at the Metropolitan Opera House in December, garnering global attention there as well as at La Scala and the Glyndebourne Festival.  It was thus no surprise to see a few people in the audience on Sunday who had attended the gala season-opening performance and were back for a final dose of this rare, luscious singing.

Verdi’s “Luisa Miller” opened San Francisco Opera’s 2015-16 season. The opera pairs soprano Leah Crocetto and tenor Michael Fabiano as doomed lovers Luisa, a miller’s daughter, and Rodolfo, the son of the local count. Photo: Cory Weaver, SFO

Verdi’s “Luisa Miller” opened San Francisco Opera’s 2015-16 season. The opera pairs soprano Leah Crocetto and tenor Michael Fabiano as doomed lovers Luisa, a miller’s daughter, and Rodolfo, the son of the local count. Photo: Cory Weaver, SFO

The 1849 opera, Verdi’s 15th, is based on Schiller’s play “Kabale and Liebe.”  The plot is insanely unrealistic─Luisa Miller, a commoner, is in love with Carlo, who is really Rodolfo, the son of the local Count, Walter.  Luisa’s protective father distrusts Carlo and schemes behind her back to have her marry Wurm, who works for the Count.  When Wurm (whose name translates appropriately as “Worm”) tells the count that his son is in love with a commoner, the Count orders Rodolfo to marry the recently widowed duchess, Federica who is in the good graces of the Imperial Court.  The rest of the opera revolves around political intrigue, deception and heartbreak and culminates in multiple deaths─Wurm by gunshot and Rodolfo and Luisa by poisoning, just after the truth of their abiding love is revealed, but too late as the poison has been drunk.

Soprano Leah Crocetto sang beautifully, consistently hitting the notes this demanding role calls for while evoking the emotional roller coaster that innocent young Luisa is subject to.  She soared in her Act II, aria “Te puniscimi, O Signore” which was pulsing with feeling as she expressed being torn between her love for Rodolfo and her father.  And right after Fabiano brought down the house with his exquisite Act II aria, “Quando le Sere al Placido,” it was as if she too got a boost from the fumes and came out singing with renewed fire.

Soprano Leah Crocetto is Luisa in Verdi’s “Luisa Miller” at San Francisco Opera through September 27, 2015. Crocetto is a former Adler fellow and Merola alum. As the opera opens, it is Luisa's birthday and the villagers (San Francisco Opera chorus) have gathered to serenade her. The Francesca Zambello production, from 2000, features sets by Michael Yeargan with gorgeous huge paintings. Photo: Cory Weaver, SFO

Soprano Leah Crocetto is Luisa in Verdi’s “Luisa Miller” at San Francisco Opera through September 27, 2015. Crocetto is a former Adler fellow and Merola alum. As the opera opens, it is Luisa’s birthday and the villagers (San Francisco Opera chorus) have gathered to serenade her. The Francesca Zambello production, from 2000, features sets by Michael Yeargan with gorgeous huge paintings. Photo: Cory Weaver, SFO

Russian mezzo soprano Ekaterina Semenchuk has an intrinsically lush, full voice and her SF Opera debut as the widowed duchess, Federica, was enchanting.  It was particularly amusing when she made her entrance drawn in on an enormous horse statue replete with its clunky pedestal, as if it had been dragged there from a European park.  To dismount she had to be lifted down by another cast member. Her singing was nimble and spot-on, from her Act I aria, “Duchessa Duchessa tu m’appelli,” and duet, “Dall aule raggianti di vano,” with Rodolfo to her Act II recitatives.

Russian mezzo soprano Ekaterina Semenchuk makes her San Francisco Opera debut as Federica in Verdi's

Russian mezzo soprano Ekaterina Semenchuk makes her San Francisco Opera debut as Federica in Verdi’s “Luisa Miller.” Photo: Cory Weaver, SFO

Baritone Vitaliy Bilyy as Miller, who has also sung the role at Milan’s La Scala, made his SFO debut and was impressive.  Bass baritone Daniel Sumegi sang Count Walter and imbued him with an appropriately dark character.  The great irony of the opera is that the Count, who conspires to entrap Luisa and her father, ultimately ensnares his own beloved son.

Bass Andrea Silvestrelli sang wonderfully but could have imbued his bland Wurm with even more despicability.  Second year Adler Fellow, soprano Jacqueline Piccolino was impressive as the village girl Laura, whose Act I “Tidesta, Luisa” (sung with the chorus) immediately caught our attention. Her Act III “O Dolce Amica, E Ristorar Non Vuoi,” sung with Lusia and the chorus, again made an impression.

When SFO Music Director, Nicola Luisotti, comes to the podium, and it’s Verdi, one always has the sense that great things are in the pipeline.  It’s amazing how time flies too.  He made his SFO debut in 2005, conducting “La Forza del Destino,” and has been director since 2009.

He started the overture at a healthy clip, as he is prone to do, but, throughout the afternoon, brought the delicacy out in the scoring as well the drama, passion, and color that Verdi infused this score with. The clarinet solo in the overture and horns calls further enlivened the music.  The SFO chorus sang masterfully throughout, starting out as a chorus of simple country folk singing repeating melodies that were expressive and catchy.

The production, a 2000 revival by Francesca Zambello, which I had not seen before, intrigued me, particularly Michael Yeargan’s gorgeous sets.  They included a painted surround backdrop of a dense forest which changed colors, and several very large paintings─ a rustic farmhouse for Miller’s house, an elegant tapestry featuring a hunting scene with leaping hounds for Walter’s castle and, for Act II, a gray honeycomb pattern evoking metal mesh─all suspended from a distracting metal arm that hung over the stage for the duration of the opera.

Dunya Ramicova’s costumes were predictable─the villagers wore peasant costumes; the nobles were elegant in fitted red velvet coats and dresses for the hunt; Rodolfo and Wurm were fitted in green and the count wore an elegant black coat with a white ruffled shirt.  The fitted waists and abundance of fabric in the skirts of Crocetto’s and Semenchuk’s period gowns did nothing to flatter their rounder figures.

Details:  There are no remaining performances of Luisa Miller. For information about the SFO’s 2015-16 season, for which you can still catch all but Luisa Miller, click here. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.

September 29, 2015 Posted by | Opera | , , , , , , , , , , , , , , , , , | Leave a comment

Crawling Out of Bed for René Pape—Saturday’s Spectacular Met Opera Live in HD performance of Boris Godunov

Bass Rene Pape’s repertoire of wounded power figures reaches new heights with the Metropolitan Opera’s new production of Musorgsky's Boris Godunov. Pape perfectly embodies the role of the tormented Russain tsar, Boris Godunov, whose guilt whittles away his essence. Photo Ken Howard/Metropolitan Opera.

It takes dedication to make it to a 9 a.m. opera in a blustery rain storm; when that performance is 4.5 hours long and tackles a complex historical theme, it discourages all but the die-hard.  Count me among the dedicated and the lucky.  I was one of 217 other Sonoma County opera devotees who turned up early Saturday morning at Santa Rosa’s Jackson Theatre for the Metrpolitan Opera’s  “Live in HD” simulcast of “Boris Godunov,” the most riveting performance of its season so far.  Whether you like the opera or not, the performance itself was one of near perfection—singers, chorus, orchestra, conductor and director came together in a perfect fit.  And with director Stephen Wadsworth’s late entry to the new production, just 5 weeks before it opened, that is a fete.  With an opera of this complexity, I really appreciated the riveting close-ups and back stage interviews that accompany the HD Live transmissions.   The chance to literally crawl out of bed and into my car in yoga pants and to the theatre without the typical drama around what to wear makes it all about the music too. 

The Met’s new production is based on Mussorgsky’s final (and fullest) version of the opera.  It features German celeb bass René Pape in his Met debut in this role and a host of Russian and Slavic Eco-stars—Ekaterina Semenchuk (Marina), Aleksandrs Antonenko (Dimitri), Oleg Balashov (Prince Shuisky), Evgeny Nikitin (Rangoni), Mikhail Petrenko (Pimen), Andrey Popov (Holy fool), and Vladimir Ognovenko (Varlaam)—who all worked together like clockwork to keep the drama high in this epic story of the tormented unravelling of 16th Century Russian tsar, Boris Godunov.  The opera really involves three embedded stories, the most important of which is Boris’ complete disintegration brought on by the psychological burden of the guilt he carries for murdering the rightful heir apparent, Dimitri, the young son of the late Tsar, Ivan the Terrible.   The second story is that of succession—the grab for the throne that carries the drama through 4 acts.  An ambitious young monk named Grigori realizes that he’s the same age as the murdered young heir apparent Dimitri would have been and he schemes to take over Russia himself while pretending to be the late czar’s son.  As Grigori and his army march on Moscow, Boris is forced to battle the inner demons unlocked by his guilt.  These chip away at his faculties, leaving him physically drained and demented, a short step from his death which occurs in the final act.  The third story is that of the immiserated and fickle-willed Russian people themselves who are beset by religious and political separatism and poverty.  As Director Stephen Wadsworth explains “In a bigger sense, the opera is about history repeating itself—in the beginning the people resent a leader who took power through deceit and violence, and in the end they celebrate a new leader who does the same.  And they themselves celebrate with violence. It’s frightening.”

I love the opera because it explores just what is “Russianness,” and does the quality come from its peasants or its nobility, from Europe or from Asia?  In real life, part of how the actual Boris Godunov meets his end is that he is not himself in the Romanov line.  Instead, he was the orphan of a boyar (a citizen whose rank was just under than of the ruling class) who grew up in the household of Ivan the Terrible and became a very powerful regent who instituted the system of serfdom and helped secure Russia’s borders.  When Tsar Ivan killed his son and successor Ivan, another of his sons, preferably from his current wife Anaztasia Romanova, had to take the crown.  Fyodor, who was married to Boris’ sister Irina, was chosen but he had mental problems and proved an unfit Tsar.  Throughout Fyodor’s reign, the Russian government was contested between his brother-in-law, Boris Godunov, and his Romanov cousins.  When Fyodor died childless, the 700-year-old line of Moscow Ruriks came to an end.  The Assembly of the Land elected Boris tsar in 1599, though Ivan the Terrible had another son, Dimitri, who to some seemed the true heir to the throne.  Dmitri was born to one of Ivan’s earlier wives who preceded Anastasia Romanova.  When Dimitri died of a throat-cutting at age 10, it was speculated that Boris was behind it.  Modern historians tend to dismiss this but Boris Godunov has carried the stigma ever since and the story motivated Pushkin to write the play on which Mussorgsky based his opera.  Once tsar, Godunov sought swift revenge on the Romanovs–all the family and its relatives were deported to remote corners of the Russian North and Urals, where many met starvation or were imprisoned.  Like in opera, the Romanovs’ fortunes would again dramatically reverse with the fall of the Godunov dynasty in 1605.

The press hype around bass René Pape, set designer Stephen Wadsworth, and conductor Valery Gergiev has been phenomenal but well-deserved.  Pape was born for this role and anchors the drama throughout despite his appearance in just a few scenes. With his Eurasian looks, dark expressive eyes, and long unkempt mane–which grew more tangled as the performance progressed– Pape looks as if he came right from very line of Tatars bent on breaking tsarist Russia.  Pape’s plush bass gives Samuel Ramey, whose majestic 2003 performance as Boris at the the San Francisco Opera was the talk of the town, a run.  Pape’s repertoire includes a spade of crumbling authority figures with huge issues–King Marke in Tristan und Isolde, Méphistophélès in Faust, Gurnemanz in Parsifal, and King Philip in Don Carlo–and these at the Met alone.  What is brilliant about this performance is that Pape doesn’t overact the part.  In fact, he downplays the physical drama, and through stunning vocal delivery gives us a Boris who is battling intense inner demons but remains vulnerable and tender.

Mikhail Petrenko as the old monk, Pimen, chronicling Russia’s history in a huge manuscript which is central to the story. In the background is Rene Pape performing the title role in Mussorgsky’s Boris Godinov. Photo: Ken Howard/Metropolitan Opera.

Because of Director Stephen Wadsworth’s last minute entry to the production, it’s hard to know what exactly he is responsible for and what he accepted from his predecessor Peter Stein, who left in a reputed protest over an immigration issue.

The stage design is sparse but spectacular.  Central to the drama from the very beginning and visible downstage in every scene is a huge (about 6 x9 feet) and beautiful book of Russian history, being penned at the Chudov monastery by Pimen (Mikhail Petrenko), an old monk who knows or thinks he knows the history surrounding Boris.  I was completely smitten with Petrenko after his emotive Act 2 solo which he express both intense rage and compassion.  When Pimen tells his young novice Grigori (Latvian tenor Aleksandrs Antonenko) that power hungry Boris murdered Ivan’s successor and son, Dimitri, so that he could become tsar, Grigori (the same age as Dimitri would have been) is motivated to take justice into his own hands by pretending to be Dimitri.  From that point on, the book’s centrality is emphasized by many of the main characters actually standing and performing on it.  In one scene, The Holy Fool, played splendidly by Andrey Popov, wraps himself in a page of this book, illustrating how a part of Russia’s history will be forgotten and lost and that the drama that is unfolding on stage reflects history being written before our very eyes.  The book motif is even carried through in the scene at the Polish court with the large maps that foretell the future expansion of Marina’s empire.

According to the program notes, this new production is based on Mussorgsky’s final and fullest 1872 version of the opera with the 1869 version guiding the beginning of the final act and Boris’ monologue in the Act II Kremlin scene.   The main thing about this long version is that it includes the Polish court scene in Act III, which I appreciated but some consider a lengthy distraction from the main story of Boris.  Balarus mezzo-soprano Ekaterina Semenchuk in her debut as the conniving Polish vixen Marina was fantastic.  Her voice was rich and, with her fiery wavy long red hair and ample curves, she played the aging princess to the hilt.  It was very credible that power-thirsty Marina is aching to become tsarina and is trying to steer her lover

Ekaterina Semenchuk as the manipulative and power-thirsty Mirina and Aleksandrs Antonenko as Grigory/Dimitri conspire at the Polish court. Marina needs Grigory to ascend the throne of Russia. Photo: Ken Howard/Metropolitan Opera

Grigori towards the throne.  The bizarre sensual relationship between Marina and her Jesuit confessor, Rangoni (baritone Evgeny Nikitin), who extols her to support the Catholic cause, was so over the top that it became farcical.  What irony too, that I came across with such disdain for Marina and pretender Grigori/Dimitri  while Boris, just as much the conniving murderer, pulled at my heart strings. 

Valery Gergiev, using the original orchestration, did an awesome job of drawing out the very best musically from all of the performers from the main characters to those in the glorious chorus.  The chorus, stand-in for the fickle Russian people, had a major part in the opera— they initially hail Boris as symbol of hope and later revile him as a Herod who has brought the wrath of heaven down on them.  The chorus was especially effective when they were pleading for bread and later, when total anarchy occurs.

The HD experience can be a blessing and curse.  Its biggest plus is that the camera precision is so fine that we can see things that can’t be seen even from the very best seats at the Met.  It became very clear, for example, that large portions of Ekaterina Semenchuk’s face had been rendered immobile by Botox which may not have been visible to those at the opera house but produced some humorous close-ups of the outermost regions of her eyebrows moving expressively.  On the other hand, we are captive to the cameraman’s framing and Saturday’s filming included a big blunder.  We never got to see the actual grand and triumphant court entrance on horseback by Marina and Grigori, which was so disappointing since our appetites had been whetted during the second intermission when we got to watch these magnificent white horses being led through the corridors of the opera house as they readied for that symbolic entrance.  What the HD audience saw instead—the horses as a static tableau, after the entrance had been made. Ahheemmnn.   What is so wonderful about the HD performances though is the additional commentary that we are privy to at intermission.  Saturday’s hostess was Patricia Racette.  She lacks the verve of Rene Flemming, but she conducted informative interviews with Pape, Semenchuk, Popov, and chorus members.  She didn’t ask Wadsworth what he inherited from Stein and what he did to imprint his signature on the performance. 

 The Metropolitan Opera’s HD live broadcasting is now in its fifth season.  The opera series of 12 live transmissions is sponsored in Sonoma County by the Sonoma County Jewish Community Center by arrangement with Rialto Cinemas.   There are two Sonoma County transmissions for each opera—a Saturday morning performance that is a live simulcast as the opera is performed in New York at the Metropolitan Opera House and a Wednesday evening encore performance.

October 26, 2010 Posted by | Opera | , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment