Tag Archives: opera

vocal music

Francis preaching to the birds, Giotto

Francis preaching to the birds, Giotto

Today is the feast day of Saint Francis of Assisi. The Rose Ensemble has created a concert and recording entitled Il Povorello which culminates three years of research into Franciscan music, and the music of that time and place. I attended their outstanding concert at the Basilica in downtown Minneapolis Saturday night. It is difficult to overstate the excellence of this group. Each member is a first-class musician, and they have an almost-perfect ensemble sound that grows from seriousness of purpose and a sense of fun.  I’ve never bought their recordings, because I would rather hear them live…sorry guys!

Minnesota Opera played Bizet’s Pearl Fishers these last two weekends and I saw the closing performance this afternoon. It was a good group of singers. Isabel Bayrakdarian, after a rocky start on her first bit of vocalese, was emotional and fluid, and Jesus Garcia and Philip Cutlip were great from their first duet on. The scene and costumes, designed by Zandra Rhodes and imported from a San Diego production, gave the piece an appearance of a storybook come to life.

Pearl Fishers...entrance of Leila.

Pearl Fishers…entrance of Leila, MN Opera's version.

(This picture doesn’t show how the scenery had the appearance of a drawing; e.g hatchmarks for rain, drawn flames for fire. It was simple and lovely.)

The choreography, also moved over from San Diego,  mimicked every subdivided beat and flourish in the score. As usual in MO’s productions, the stage direction was sluggish and odd. I assume–as in every behemoth production in this city–that the idea of um, acting got overwhelmed by spectacle. Luckily,  Zenon dancers were on stage to move around and make a few things happen in the crowd scenes.

An opera production can get static and stay that way. Things’re just too complex. Something needs to give and–given the demands of music and the boatloads spent on mise en scène–it’s the acting that gives. However this piece, with its nice tight little cast and story, would’ve been an ideal moment to dig in.

As for the music–wonderful. The story: insert obligatory reference to Edward Said here.

the seductions of virtuosity

I attended a dance performance last week, and was reminded of Ben Krywosz’s  theory of the continuum of Perfect Beautiful Voice and the Ugly but Useful Voice–each voice having its dramatic uses. I never stopped being wowed by the dancers. And I asked myself–quite frequently during the second half of the show–why being wowed wasn’t enough. What movement quality would support the disturbing nature of the subject matter? Why did “Wow!” not equal the emotional response I felt was being demanded?

These are serious questions. I was raised on the Metropolitan Opera, listening to radio broadcasts, and dressing up in my best clothes to see them each spring at Northrup Auditorium, back when the Met toured. We audience members accepted the convention that it was enough to hear perfect beautiful singing, leaving aside all dramatic conceptions. But that is not good enough anymore. This goes beyond trite objections to watching the fat tenor sing to the fat soprano as they both feigned (clumsily) being teenagers in love.

Joan Sutherland in the mad scene from "Lucia"

Joan Sutherland in the mad scene from Lucia

I want to hear the gasp and crack in the voice.   I want to see the limp in the step.  That’s the way we sing, and that’s the way we move.