Dmitri Hvorostovsky in recital at Davies Hall Sunday, May 25, 2014

Russian baritone Dmitri Hvorostovsky will be performing a program of Russian songs Sunday, May 24, 2014 at Davies Symphony Hall with his longtime artistic partner Ivari Ilja. Hvorostovsky (52) was last heard in North America at the Metropolitan Opera last fall when he made his acclaimed role debut as Verdi’s “Rigoletto.” This month, he will be inducted into the Gramophone Hall of Fame. His most recent solo recording is “In this Moonlit Night” (Ondine, 2013). In 1989, at age 27, he won the prestigious BBC Cardiff Singer of the World Competition. Photo: Pavel Antonov

A shout out to opera devotes.  Russian baritone Dmitri Hvorostovsky, a.k.a. the “Silver Fox,” the “Siberian Express” is in town.  He will be performing a program of Russian classics Sunday evening at Davies Hall, accompanied by his long-time recital partner, Estonian pianist Ivari Ilja, the final concert in San Francisco Symphony’s Great Performers Series. There are plenty of great seats still available. There’s not much that can pull me away from gorgeous Sonoma County during a long holiday weekend but I’m not missing my first chance to experience this great singer live in recital, especially since I’ve been following him so avidly through the Metropolitan Opera’s Live in HD transmissions.  There are plenty of great seats still available and, unless the situation changes dramatically by Sunday (do check!), it will be possible to just show up at the Symphony Box Office prior to the performance and select tickets on the spot without having to pay additional fees.

Hvorostovsky, who is based in Russia, has been on his North American tour since mid-May.  He comes to San Francisco from L.A., where he performed Thursday at Los Angeles Opera.  For his West Coast performances, he is presenting a Russian program of Pushkin-inspired romances by Glinka, Borodin, Rachmaninoff, Tchaikovsky and others as well as Shostakovich’s haunting late-period “Suite on Verses of Michelangelo Buonarroti” from 1974.  The rarely performed work is based on chosen texts from Michelangelo (translated into Russian).  Every text has to do with the life and work of the artist, with his achievements, his set-backs, his loves and his sense of destiny.  The texts are arranged into a dramatic cycle of ten songs, with an eleventh hanging at the end, which trace an arc of the poet’s life and the entire cycle has resonances of Musorgsky and Mahler, two of Shostakovich’s heroes.

You may have noticed that the Green Music Center’s newly announced 2014-15 Season is devoid of opera, which so punctuated their fabulous first season.  This makes superstar Hvorostovsky’s presence in the Bay Area a treat to be savored even more.  The performance will be well worth the drive in the City.  Who can forget the great baritone’s last Met Opera Live in HD performance in December 2012 when he sang Renato (Count Anckarström) to Sondra Radvanovsky’s Amelia Anckarström in David’s Alden’s new production of Verdi’s “Un Ballo in Maschera”?  (Both Hvorostovsky and Radvanovsky reprise their roles in the Met’s spring 2015 production of the opera with James Levine conducting.)  One of the pleasures of the HD transmissions is that they are almost as good as being there BUT when you’ve got the chance to experience an artist live and help create the magic, you don’t want to miss it because it will make all the artist’s subsequent performances that you see all the more resonant.  And, of course, a cinematic experience of an opera can be very different from the impression it makes in house because the camera focuses on the important details and often ignores the bigger picture.  Enough said.

My colleague, music critic Sean Martinfield, who writes for Huffington Post, was lucky enough to secure the only interview that Hvorostovsky granted for this Davies appearance. (click here for full interview)  Speaking on Shostakovich’s rarely performed Suite on Verses of Michelangelo Buonarroti, Hvorostovsky said— “The cycle is amazing.  Shostakovich wrote it for piano to begin with and then decided to re-write it for symphony orchestra which he dedicated to the first performer, Evgeny Nesterenko. The way it’s written for piano is so colorful that it sounds like an orchestra. The translation of the poetry of Michelangelo Buonarroti sounds incredible. There has only been one example, by Dietrich Fischer-Dieskau, who decided to sing the songs in the original Italian. I think it was a failure, because you have to move the accents and stresses. The way it sounds in Russian is so complete. It is a cycle where two geniuses meet with each other and create an amazing impact of classic and contemporary. It absolutely reflects the reality we live in now.”

In 2004, Hvorostovsky, who hails from Krasnoyarsk, Siberia, became the first Russian opera singer to give a solo concert with orchestra and chorus on Red Square in Moscow and the concert was televised in over 25 countries.  He has gone on to sing a number of prestigious concerts in Moscow as a part of his own special series, “Dmitri Hvorostovsky and Friends” inviting celebrated artists as Renée Fleming, Jonas Kaufmann, Marcello Giordani, Sumi Jo and Sondra Radvanovsky to join him. In 2005 he gave an historic tour throughout the cities of Russia at the invitation of President Putin, singing to crowds of hundreds of thousands of people to commemorate the soldiers of the Second World War.  He now annually tours the cities of Russia and the former Eastern Europe.  In the video clip below, from the famous Red Square Concert on June 19, 2013, Hvorostovsky is joined by soprano Anna Netrebko as Lev Kontorovich conducts the Masters of Choral Singing choir and Constantine Orbelian conducts the Russia State Symphony Orchestra. They sang Verdi, Puccini and Tchaikovsky, bringing the audience of 8,000 to a stunned silence with an aria from “Eugene Onegin. For the finale, Hvorostovsky sang “Dark Eyes,” one of the most famous Russian romances.

 

2014-15 Guest Vocalists at San Francisco Symphony: Soprano Ruth Ziesak and baritone Christain Gerhaher in Brahms’s A German Requiem (Feb 19-21, 2015); Soprano Dawn Upshaw in Ades & Upsahw (March 5-7, 2014); Mezzo Soprano Sasha Cooke and Soprano Joélle Harvey in Beethoven’s Missa solemnis (June 10-13, 2015); Soprano Karita Mattila in Beethoven’s Pastoral Symphony (June 17 and 19, 2015); Soprano Nina Stemme in Beethoven Festival Fidelio (June 25-6, 2015)  Tickets and subscription packages are on sale now.

Details: “Dmitri Hvorostovsky in Concert” is Sunday, May 25, 2014 at 8PM at Davies Symphony Hall, San Francisco.  Tickets: $15 to $84; purchase online here, or, call (415) 864-6000. For more information, visit www.sfsymphony.org.

Getting to Davies:  Davies Symphony Hall is located at 201 Van Ness Avenue, at Grove Street, in San Francisco’s Civic Center, just across the street from City Hall.  The main entrance is on the south side of Grove Street between Van Ness Avenue and Franklin Street.

Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the holiday weekend and crossing the Golden Gate Bridge—there is frequently congestion en route to Davies Hall.  Arrive early at your parking garage of choice as these also fill up early on weekends.  Recommended Garages:  Two garages are very close to Davies— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)

review: San Francisco Opera’s “The Tales of Hoffmann,” at San Francisco Opera through July 6, 2013

 

Mezzo-soprano Angela Brower sparkles as Nicklausse, Hoffmann’s friend, in SF Opera’s “The Tales of Hoffmann.” Photo ©Cory Weaver/San Francisco Opera.

At last Wednesday’s opening performance of Offenbach’s classic, The Tales of Hoffmann (Les Contes d’Hoffmann), at San Francisco Opera, it was Olympia (soprano Hye Jung Lee), the mechanical doll,  who stole the hearts of the audience and mezzo-soprano Angela Brower who triumphed in her remarkable company debut as the Muse/Nicklausse.  Lee seemed to flutter magically across the stage, singing gleefully and hitting incredibly high notes with precision.  For Brower, who sings throughout the entire opera, it was an act of wooing the audience with the sheer beauty of her voice. 

This is French director, Laurent Pelly’s new co-production with Gran Teatre del Liceu, Barcelona, and L’Opéra National de Lyon which had its premiere in Barcelona earlier this year. The libretto is by Jules Barbier and Michel Carré, based on the integral edition of the opera by Michael Kaye and Jean-Christophe Keck.  The story takes real life German poet E.T.A. Hoffmann and places him in three stories of failed love.  Singing the title role is tenor Matthew Polenzani, whom many will recognize from his lead role in Donizetti’s The Elixir of Love, the delightful comic opera that opened the Metropolitan Opera’s 2012 season and was transmitted to millions via “Live in HD.”   He was joined by the French soprano Natalie Dessay, as Antionia; Korean soprano Hye Jung Lee as Olympia; mezzo-soprano Irene Roberts as Giuletta in her company debut, and American mezzo-soprano Angela Brower as the Muse, disguised as Hoffmann’s dear friend Nicklausse. 

The opera’s staging, with set designs by Chantal Thomas, based on the moody work of the Belgian symbolist painter Léon Spilliaert (1881-1946) was exquisite in its simplicity.  Massive blue walls framed the action and then angularly closed in or moved out, just like the cropping tool in Photoshop, resulting in refreshing new orientations.  Low lighting bathed the set, evoking a dream-like space which lent itself to the dark tone of the story.  Since 1988, Thomas has collaborated with Pelly in roughly 40 productions and two seem to be in harmony.  Her ingenious Act II staging for Olympia the mechanical doll, which employed wonderfully zany machinery to spirit the doll across the stage, brought down the house.

Tenor Mathew Polenzani immediately caught my attention in the Prologue with his Il ètait une fois à la cour d’Eisenach, Hoffmann’s ballad about the dwarf Kleinzach, which sets the stage for his mind to wonder back to beautiful women and his love life.  Throughout the evening he was in top form with lively and powerful singing but less commendable acting—on many occasions, it was hard to actually feel the love whose loss he was lamenting.

The surprise stand-out of the evening was American mezzo-soprano Angela Brower in her company debut as the Muse, disguised as Hoffmann’s dear friend and constant companion Nicklausse.  In a move that is truly operatic, Bower stepped in rather later to replace Alice Coote in the production.  She nailed it from the moment she stepped on stage, showing a real command of the role’s vocal and dramatic requirements and trumping most of the other better-known singers with her powerful voice, capable of such sweet and tender emotion.    Her Act I aria Une poupèe aux yeux d’èmail was lush and energetic.  Sung in the eccentric scientist Spalanzani’s parlor room, it warns Hoffman of a mechanical doll that looked human but fell in love with a copper bird.  Brower comes to San Francisco fresh from her success in the role last season at the Bayerische Staastoper opposite Diana Damrau and Rolando Villazón— a performance that was broadcast on European television and captured for DVD.  She is an ensemble member of the Bayerische Staatsoper.   She was also quite lovely in her Act III duet with mezzo Irene Roberts, Belle nuit, ô nuit d’amou.

If you saw nothing but Act I, Korean soprano Hye Jung Lee’s Olympia, the mechanical doll, it would have been worth the price of admission.  Lee, a Merola Program alumna, dazzled SF Opera audiences last summer with her company debut performance as Madame Mao in John Adams’ Nixon in China.  As Olympia, she outdid herself.   Dressed in a silver gown, she fluttered around the stage, legless, leaving the audience to wonder how  it was happening.   She then took to the floor.  Wearing hidden inline skates, she glided all around the stage, literally running circles around Hoffmann, all while hitting notes in the stratospheric range of E and F with precision.  The audience gave her, and the ingenious device which served as her chariot, a well-deserved long ovation with several whoops and whistles.

Korean soprano Hye Jung Lee as the mechanical doll, Olympia, and tenor Matthew Polenzani as Hoffmann in SF Opera’s “The Tales of Hoffmann.” Photo ©Cory Weaver/San Francisco Opera.

It’s been six years since Natalie Dessay’s San Francisco Opera debut, and sole Bay Area appearance, in the title role of Lucia di Lammermoor.  She was enchanting in Wednesday’s Act II as “Antonia,” and despite a noticeable decline in her upper register; she was lovely in her mid-range throughout the entire performance.  Offenbach intended that the four soprano roles be played by the same singer, for Olympia, Giulietta and Antonia are three facets of Stella, Hoffmann’s unattainable love.  Dessay was originally scheduled to sing all three, a feat that only a few—like Beverly Sills and Edita Gruberoa—had pulled off in the past.  Apparently, she pulled back after re-evaluating where her voice stands.  She was wonderful in C’est une chanson d’amour, her love duet with Hoffmann.  Its drama was heightened by the wizardry of the staging which transformed yet again, pulling them apart from each other into separate balconies where they sang longingly to each other.

There’s just one Dessay.  Anyone familiar with her performances can’t help but love the verve and mettle this petite French dynamo brings to any role, many of which have been made accessible through the Met’s “Live in HD” telecasts.  A special turn of her head, the flash of her eyes, a quick dash—I was living for identifiable “Dessay moves” and there were many.   Her trio with her mother’s ghost (Margaret Mezzacappa) and Dr. Miracle (Christian Van Horn) was also lovely vocally but the creepy projected image of the ghost cast such a dark pallor over the idea of a benevolent spirit, that it was hard to feel the love connection between Antonia and her late mother.  Copyright law prohibits a reproduction of the program cover which features Spilliaert’s intensely dark and oppressive self-portrait from 1907-8 where he seems to be transitioning into an angel of death.  The heavy milieu of this work seemed to fuel this very disturbing and macabre video projection.

Matthew Polenzani as Hoffmann and Natalie Dessay as his frail love Antonia, in SF Opera’s “The Tales of Hoffmann.” Photo ©Cory Weaver/San Francisco Opera.

Tenor Steven Cole imbued his four servant roles (Frantz, Andres, Cohenille, Pittichinaccio) with distinct personality as did bass-baritone Christian Van Horne, who sang his villainous roles (Lindorf, Coppélius, Miracle, and Dapertutto) with aplomb, especially Dapertutto’s difficult Act III Scintille, diamant.  As Stella, Hoffmann’s Milanese love interest, Adler Fellow Jacqueline Piccolino ended the long evening with a burst of bright energy.

Patrick Fournillier’s conducting was impressive throughout.  He kept the orchestra under rein while evoking a beautiful and vibrant sound.

Details:  The Tales of Hoffmann runs through July 6, 2013 at War Memorial Opera House. War Memorial Opera House is located at 301 Van Ness Avenue, San Francisco.  One of the last Beaux-Arts structures built in the United States, the Opera House seats 3,146, with 200 standing room places.  Every performance features supertitles (English translations) projected above the stage, visible from every seat.

Remaining Performances: The eight remaining performances of The Tales of Hoffmann are June 11 (8 p.m.); June 14 (8 p.m.); June 20 (7:30 p.m.); June 23 (2 p.m.); June 27 (7:30 p.m.); June 30 (2 p.m.); July 3 (7:30 p.m.); and July 6 (8 p.m.)  Click here to see cast scheduling information.  Tickets: $22 to $340 at the Box Office, 301 Van Ness Ave., San Francisco, by phone at (415) 864-3330 or purchase online.  Standing Room tickets go on sale at 10 a.m. on the day of each performance; $10 each, cash only.

Driving to San Francisco and Parking: Be sure to allow ample time when driving into San Francisco on the weekend and crossing the Golden Gate Bridge—there is frequently a 15 to 30 minute back-up on Highway 101 South from Sausalito onwards due to congestion around the toll-plaza.  Arrive early at your parking garage of choice because those also fill up on weekends. Recommended Garages:  Two garages are very close to War Memorial Opera House— the Performing Arts Garage (1/2 block)(Grove Street between Franklin and Gough Streets) and Civic Center Garage (roughly 2 blocks) (McAllister Street between Polk and Larken Streets) (both have flat $15 pay cash as you enter policy on performance nights)

Cast:

Hoffman—Matthew Polenzani

Antonia—Natalie Dessay

Olympia—Hye Jung Lee

Giuletta—Irene Roberts

Stella—Jacqueline Piccolino

Nicklausse, The Muse—Angela Bower

Coppélius, Dapertutto, Dr. Miracle, Lindorf—Christian Van Horn

Frantz, Andres, Cohenille, Pittichinaccio—Steven Cole

Antonia’s Mother—Margaret Mezzacappa

Spalanzani—Thomas Glenn

Crespel—James Creswell

Nathanael—Matthew Grills

Hermann—Joo Won Kang

Schemil, Luther—Hadleigh Adams

Creative Team:

Conductor—Patrick Fournillier

Director—Laurent Pelly

Set Designer—Chantal Thomas

Lighting Designer—Joël Adam

Associate Director—Christian Räth

New libretto version/ dramaturg—Agathe Mélinand

Chorus Director—Ian Robertson