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Madama Butterfly
November 12, 2010
November 11, 2010
Daniela Dessì in SF Opera's Butterfly
* Notes *
The November performances of Madama Butterfly at San Francisco Opera star Daniela Dessì in the title role. Dessì's vocal entrance was muted, at least on the orchestra level, and one could barely make out the lines of her voice. Once she was on stage, she was audible, though not terribly robust. She has a wonderful vulnerability that suits the part and her movements also conveyed the fragility and tenderness of Butterfly. Her "Un bel dì" was pretty.
Perhaps Julian Kovatchev did not have many rehearsals before taking over for Maestro Luisotti, who is off to conduct La fanciulla del West at the Met. The playing sounded like the whole piece was marked ritardando, and seemed to grow slower and slower by the bar. The orchestra and chorus were not exactly together. The harp did sound especially lovely, however, the individual contributions of the orchestra members could not save the performance, it was rather dull.
* Tattling *
There was outright commentary during the music in addition to much unwrapping of cough drops.
October 13, 2010
SF Opera's Madama Butterfly
* Notes *
Harold Prince's production of Madama Butterfly opened last night at San Francisco Opera. The revolving set, designed by Clarke Dunham, is pretty enough. Though not terribly elegant, it is sure to delight most. The transitions were fluid. Director José Maria Condemi certainly was presented a challenge of getting people on, off, and around this set.
Maestro Luisotti conducted the orchestra with verve, the playing was sweeping and painterly. The chorus also made strong contributions, and received the only ovation during the music, after the Humming Chorus. Both the Adlers looked and sounded appropriate for Kate Pinkerton (Sara Gartland) and Prince Yamadori (Austin Kness). Christian Van Horn was intimidating as the Bonze. Quinn Kelsey was a tender, kind Sharpless, his voice is rich and strong. Thomas Glenn (Goro) was foppish but also oozed unctuousness. His voice is light but always audible. Daveda Karanas (Suzuki) has a powerful, yet lovely voice. Her notes floated over the orchestra with ease.
Our leads were perhaps less appealing. Stefano Secco was not the least bit dashing as Pinkerton, though his singing was perfectly fine. His volume is good, there is richness in his lower register, but he is not exciting. In the title role, the petite Svetla Vassileva looked comely, at least when she was still. Her gestures were distressing, as if she was having convulsions limited just to her hands. When she noticed that her hair became accidently unbundled in Act II, she was unable to keep in character. Worse yet, her voice could be shrill and her intonation was imperfect. She did pull it together for "Un bel dì," and only one phrase was really off in pitch. Her timbre can be pleasant, with nice resonances in her chest voice, but she was a bit too hearty to be a vulnerable young girl.
* Tattling *
There was light talking during the music, but I did not hear any watch alarms. I did have a seat in the Orchestra Ring, as I volunteered in the gift shop, however, I found I was more comfortable in standing room.
A medical emergency occurred on the north side of the Premium Orchestra seating during the transition between Acts II and III. Many people stood up in the aisle to either help or to get out of the way. A nurse was called in, as was the house manager. The ailing person in question was taken out in a wheelchair.
July 11, 2010
Festival Opera's Madama Butterfly
* Notes *
Festival Opera's of latest production of Madama Butterfly opened last night in Walnut Creek. The orchestra sounded full and loud under Joseph Marcheso, although there were only thirty-six musicians. The brass was surprisingly clear and tuneful, but the strings fared less well. One of the celli was noticeably out of tune throughout the performance.
The singing was all perfectly appropriate and fine, though there were times when the singers did not quite keep up with the orchestra. John Bischoff was convincing as the Bonze, as was Elizabeth O'Neill as Kate Pinkerton. Nicole Takesono was a bit breathy as Suzuki, but her movements were graceful.
Philip Skinner (Sharpless) was strong, sounding completely in command of his voice and acting. As Pinkerton, Christopher Bengochea was slightly tentative in Act I, his voice sounded pretty at certain points, and strained in others. He sounded better in Act III, especially at the end. In the title role, Teresa Eickel looked young and vulnerable, and sounded robust. Her voice is penetrating, and was somewhat shrill in Act I. Her "Un bel dì" was vocally effective, though she checked to see that the fan in her belt was secure more than once as she sang.
The costumes were incoherent and distracting. The chorus looked like goths at Ren Faire, since they all had black hair, heavy makeup, and elaborately gathered skirts. The costume that Kurt Krikorian (Prince Yamadori) was so puzzling it was difficult to assess his voice. It looked like he forgot to wear part of his costume, or that his attire was inspired by burlesque belly dancers. Andrew Whitfield, likewise, was dressed rather oddly for Goro, and seemed to have wandered in from Dickens Fair. The set, in contrast, was clean and simple, consisting of a few different levels and large screens. Shadows play was used during the overtures and other opportune moments. Sometimes this worked, and was even beautiful, but at other times the effect was grotesque rather than elegant.
* Tattling *
Some kind friends were generous enough to have given me tickets for this performance, and Herr Feldheim indulgently accompanied me. There was some talking from the audience, but no electronic noise. The person behind me in Row J Seat 112 of the orchestra snapped her gum during much of Acts II and III, but was mercifully quiet during the big numbers, including the Humming Chorus.
A stage hand came in in the two-minute pause between the last two acts and placed a cushion on the stage, pulling us out of the opera just for that moment.
May 10, 2009
Madama Butterfly at San Diego Opera
* Notes *
A revival of Madama Butterfly closes San Diego Opera's 2009 season. Musically, the opening last night was very strong. Edoardo Müller roused a vigorous performance from the orchestra, the tempi were never sluggish, but never overly taxing either. The chorus was together and created a straightforwardly lucid sound.
The principals were also quite even. Tenor Joseph Hu had just the right amount of simpering and unctuousness to suit the role of Goro. Suzanna Guzmán rushed in her vocal entrance as Suzuki, but was impressively ferocious later on. Malcolm MacKenzie had warmth and heft in his sympathetic portrayal of Sharpless, but did not overwhelm Carlo Ventre as Pinkerton. Ventre is not exactly the brash embodiment of an American naval officer circa 1904, but he sang well. There was some constriction in his higher register, but his appealingly reedy voice did cut through the orchestration and even sparkled at times. His duet, with Patricia Racette in the title role, at the end of Act I was particularly lovely. Racette's performance was consistent, though she started off with much vibrato, is occasionally shrill. Her pianissimo can be sublime and her "Un bel dì" was magnificent.
On the other hand, Francesca Zambello's production, directed here by Garnett Bruce, was fairly incoherent. Often scenes were set in the American consulate, rather than the "casetta" of the libretto. Even with my poor Italian, it was surreal to hear text so at odds with the scenery. This was especially strange for the first scene of Act II, when Sharpless is dismissed by Butterfly, but it is she that has come to the consulate. However, there was never a dull moment and Michael Yeargan's airy set was attractive. Anita Yavich's costumes suited the production, the turquoise haori worn by Butterfly over her Western dress in Act II was rather eye-catching. In the end, Alan Burrett's lighting did unify the production, and the last scene is striking.
* Tattling *
At least 3 watch alarms were heard at 9pm, though no cellular phones rang. There was very little talking, and this was restricted to the instrumental segments.
The hall looked quite full, and there seemed to be a few issues at the box office, as far as tickets purchased online not showing up at will call.
May 09, 2008
May 07, 2008
April 12, 2008
April 11, 2008
April 10, 2008
March 04, 2008
February 25, 2008
January 24, 2008
January 16, 2008
January 15, 2008
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