Out West Arts: Performance at the end of the world

David Pittsinger and Patricia Racette
Photo : Robert Millard/LAO 2008

Not long ago, Lisa Hirsch posed the question of how many Ring cycles the West Coast needs. I've got a better one. How many Rondines are necessary? The correct answer of course is none, but on the West Coast we have been inundated with, count them, two different outings in less than a year. If you want to know what is wrong about opera in America, friends, here lies exhibit A. Los Angeles Opera is wrapping up it’s season with a revival of this Puccini clunker starring Patricia Racette as Magda and Marcus Haddock as her young lover Ruggero. It is markedly different and much less successful than the San Francisco Opera production of the work from last fall that had, if nothing else, the prodigious talents of Angela Gheorghiu at its center in a roaring 20s update.

The LAO incarnation of La Rondine surfaced over a decade ago from the mind of Marta Domingo and was an aggressive effort to rehabilitate the opera’s deservedly lackluster reputation. Domingo borrowed from Puccini’s three different versions of this work, reconstructing arias here, newly orchestrating abandoned duets there. The intended effect was to make the piece meatier and Domingo did choose to go with the darker ending where Magda drowns herself in the sea. Unfortunately, all this labor is only half successful in that the opera still seems thin and only takes longer to get to the end. (The fact that LAO inserted two intermissions did not help this along at all.)

The star of the cast was Patricia Racette, whom I love dearly, but feel she was somewhat miscast here. Her voice has a strong, dark, and weighty quality that constantly strains against the bright and light qualities of Magda. Worse yet, the overly dowdy and matronly outfit she’s stuck in throughout Act II, when coupled with Rambaldo slapping her to the ground, creates the sense that you’re watching a Franz Léhar adaptation of Peter Grimes. Haddock seemed rather strained at times, but the rest of the cast was fine in their relatively smaller roles with Greg Fedderly singing admirably as Prunier. The chorus was excellent and it sounds like Grant Gershon’s hard work at LAO is finally coming into full effect. Keri-Lynn Wilson led the orchestra to optimal effect.

In some ways this stodgy, if somewhat enjoyable, La Rondine seems a fitting end to a rather stodgy, if somewhat enjoyable, season for LAO. There were few excellent moments. The Karita Mattila-starring Jenufa and Zemlinsky’s Der Zwerg were the only two. The other major positive development is the ascendancy of music director James Conlon who is taking over the mantle of musical leadership for the city that Esa-Pekka Salonen is about to vacate. He’s got energy and ideas and is clearly committed to a community spirit. However, while there were other memorable performances throughout the year, many of the productions seemed to sputter along at half-speed as if the company is saving itself for something bigger down the pike. I hope so. And I hope that includes the upcoming Ring cycle, which will kick off next year.

Labels: LA Opera 07/08

Juan Pons, Adrianne Pieczonka, and Neil Shicoff
Photo : Robert Millard/LAO 2008

It’s difficult to get excited about Los Angeles Opera’s current production of Tosca, which opened on the 15th of May and I saw on the 21st. Of course, in some ways it fits right in, considering that this has been a season full of productions just like it here in L.A. (with the notable exception of Karita Mattila in Jenůfa and Zemlinsky’s Der Zwerg). In fact, there was apparently so little media interest in this revival of Ian Judge’s well-worn 1989 staging that, in a bid to generate a little ink beforehand, the company borrowed jewelry Maria Callas wore for her debut in the title role at the Metropolitan Opera. Adrianne Pieczonka, the first of two Toscas in this run, is an attractive woman and handles the gaudy out-of-date costume accessory with aplomb. Given the number of seats I saw at this Wednesday matinée performance, however, such early press may have been more necessary than I would have thought.

Judge’s rather claustrophobic approach to the piece still seems non-sensical in too many places. Why is Cavaradossi painting Mary Magdalene's portrait on the floor? Surely even the Italians had heard of easels by the time of the opera’s setting. Putting this silliness aside, there is always the hope that the performances will be engaging, and the current cast is certainly not shabby (if more so for 1995 than 2008). The “newest” member of the cast is Pieczonka and she is serviceable and delivers a well-sung Tosca. Her acting is not totally convincing, but there are plenty worse, and she handled the vocal chores with apparent ease. Juan Pons, the best of the three principals, performed Scarpia and seemed to relish his villainous role with glee but never overplayed his hand. Cold without being comical is not as easy as you might think on an opera stage.

Then there was Neil Shicoff who was last seen in L.A. in the same role in the same production when it first appeared in 1989. I was not in the house that night but can imagine that he has become quite a different performer since then. I personally was not taken with his performance at this stage. He seemed aloof and disinterested at times and, while his power and high notes were excellent, his middle range seemed pitchy to me, and I kept thinking he was going to crack – in the bad way. The music bubbled along at an appropriate pace under Sir Richard Armstrong and delivered its thrills without any big new revelations. So it was not a bad evening, just not one that's likely to stick to your ribs.

Labels: LA Opera 07/08

Terfel and Martineau
Photo : mine 2008

There was another Los Angeles Opera event this weekend besides the Placido Domingo gala benefit – a recital from baritone par excellence Bryn Terfel. As much respect as I have for Mr. Domingo, I did not attend the former given that I typically need a better reason for such a plus-sized ticket price than the usual collection of arias in concert format. (Even if they are delivered in part by Patricia Racette.) However, I did attend Mr. Terfel’s latest visit to town on his current North American concert tour. Overall, it wasn’t bad, though it wasn’t particularly overwhelming either.

Terfel is a consummate musician. His wonderful rich baritone can perform circles around most of his competition. So, though it may be a little unfair, it’s hard to get excited when someone with such a gift plays it so safe. Terfel’s program with pianist Malcolm Martineau was pretty much what you would expect – an hour or so of English songs from John Ireland, Warlock, Quilter, and Vaughn Williams and an hour with Schubert Lieder, 3 songs from Fauré, and a single aria each from Mozart and Handel. Things wrapped up with “Songs from the Celtic Isles.” You guessed it, “Passing By,” “Molly Malone,” and of course, “Danny Boy.” The audience was asked to sing and hum along at times here in the home stretch. Everything was well sung, though I felt his lieder technique a bit wanting. The Vaughn Williams' settings of "The Roadside Fire" and "Silent Noon" were clear standouts amongst his impeccable English songs. Best of all, Terfel kept the sotto voce histrionics to a minimum even in the most tempting places. I most appreciated his restrained and serious interpretations of material that can easily get away from lesser vocalists.

As is Terfel's trademark, the entire show is wrapped up in his warm sense of humor and gregarious stage presence. He does rely on a bit of a shtick at this point, particularly that brand of comic inept suitor stuff that spills over from his patented Falstaff performances. But it works for him. In a way he is the male equivalent of Cecilia Bartoli whose amazing talent always seems to come along with that “Are-you-really-that-excited-to-see-little-ol’-me?” jazz. It is a good show, though. And let’s face it. There aren’t a whole lot of people around these days selling the familiar brand of vocal performance as Terfel does. He’s got it down, and it’s still very much worth seeing.

Labels: Bryn Terfel, LA Opera 07/08

Ian Storey and Cristina Gallardo-Domas
Photo: Robert Millard/LAO 2008

Let me start by saying that the LA Opera production of Verdi’s Otello currently on stage through March 9 is worth seeing. It’s probably not as crucial in the overall scheme of things as their production of Zemlinsky’s Der Zwerg that is running opposite it, but it has its own charms. Not the least of these is another class act from music directory James Conlon, whom I waxed eloquently over just a few days ago. Having already heard him lead Don Carlos and Traviata in 2006, I feel confident in saying we have an exemplary conductor of Verdi’s works on our hands here. It is ironic that while Conlon is marshalling through some very big and significant German repertory for LA over the next few years, he is equally dazzling in bringing the requisite motion and dynamic pacing to the works of the Italian master. Now if we could just get some casts that are more consistently up to his standard.

Of course, for Otello, it’s not like they didn’t try. Two of the three principals come with recent major casting credentials under their belts – only neither worked out so well for them in the end. The Desdemona, Cristina Gallardo-Domas, starred as Puccini’s Butterfly in the new production that opened Peter Gelb’s glorious revitalization of the Metropolitan Opera in 2006; and Ian Storey, here as Otello, opened a new Tristan for La Scala under Daniel Barenboim to open the current season in December 2007. Both were savaged by critics for these appearances creating some mixed expectations for them in their debuts on these shores. My inclination when reading this kind of press is to give these people a break. Still, I must admit to being somewhat disappointed. It is true that Storey doesn’t quite have the heft to pull this all off without his Otello just seeming comically depressed along the way. He looks like he’s really working hard up there, which can be a bad thing. Gallardo-Domas is fine but she strikes me as a bit of a gulper when it comes to her vocal lines. Still, her “willow song” wasn’t shabby and she is a serviceable actor. The one true vocal star of the evening was Mark Delavan who grabs the stage from all parties in his wake throughout and received the most admiration from the audience. On a side note, Derek Taylor is the Cassio here and, though a little underpowered, holds his own against the others and is one worth watching in the future. He's also way cuter on stage than in his head shot which is always a nice surprise.

The production is nice, but not brilliant. It has a visual style in the large scooped stage designed by Johan Engels, and director John Cox keeps the on-stage histrionics to a minimum. The set is colorful with some large set elements including a ship’s mast that appears both at the outset and the conclusion of the piece. But while it isn’t bad looking, I thought it all rather tame as if it was too eager to get out of everyone’s way. Overall, though, this is an Otello with more pluses than minuses. And anyway, Mark Swed was right in his review in the LA Times - Domingo is not coming back in this part in LA again, and this isn't at all a bad way for the the company to move on.

Labels: LA Opera 07/08

Mary Dunleavy and Rodrick Dixon
Photo: Robert Millard/LAO 2008

Today marked the opening of the biggest event of a rather lackluster 07/08 season for LA Opera. The company is busy saving all its pennies for future plans, one of which is the “Recovered Voices” series headed up by music director James Conlon. Last season the project kicked off with two concerts consisting of a semi-staged version of Alexander von Zemlinsky’s Eine florentinische Tragödie and brief excerpts from a number of other operas whose composers were adversely effected by the Nazis's rise to power in the early 20th century. Future plans include fully-staged productions of works from others in this group, including Braunfels’ Die Vögel, as well as Korngold's Die Tote Stadt, and Schrecker’s Die Gezeichneten. But first we have the double bill that opened this weekend, whose main course is Zemlinsky’s Der Zwerg.

Apparently Zemlinsky needed more than one opera to work out his Alma Schindler issues, so he again turned to Oscar Wilde whose short story The Birthday of the Infanta served as the source material for Der Zwerg. The tale concerns a young princess who is given an ugly misshapen dwarf by a sultan for a birthday present. The dwarf has never seen himself and believes he is a beautiful, noble and artistic knight. He falls in love with the princess who is only interested in having him around for laughs. When he discovers his true image for the first time in a mirror and is rejected by the Infanta, he dies as she returns to the dancing at her party.

The plot is quite a bummer, but it should be said that LAO has made hay with an excellent new production that is well sung and acted. Conlon leads a stirring and completely convincing account of Zemlinsky’s score that comes off as important as Salome in this context. Mary Dunleavy plays the Infanta with conviction and Rodrick Dixon’s dwarf, while underpowered vocally, still manages to be heartbreaking. Special mention should also be made of Susan B. Anthony’s Ghita who almost steals the whole show from both of them. The production itself is directed by Darko Tresnjak of San Diego's Old Globe Theater. It is smart and visually interesting for a design that hews so closely to the source material. Wisely, Tresnjak has elected to plumb the very visual image that served as Wilde’s inspiration for the story in the first place, Diego Velazquez’ Las Meninas from 1656. The costumes, sets, and even some of the visual elements of the production all stem from this masterpiece including an erstwhile chorister who appears as Velazquez himself completing his painting during one of the opening scenes. It’s an excellent production of a rarely seen opera that shouldn’t be missed by anyone who cares about the art form.

Of course, before Der Zwerg, there is some other admittedly less successful business to attend to in the form of Viktor Ullmann’s Der zerbrochene Krug. Ullmann was no slouch at opera either,and Conlon championed a production of Der Kaiser von Atlantis here in LA just a few years ago. But Krug is a very light and, in this case thankfully, very short comedy at just under 40 minutes. A cornball courtroom farce about a broken jug and a falsely accused young lover is set against a rather cartoonish Dutch village set complete with brightly colored windmills. While the music is well-played and worthwhile, the whole thing is a bit much and frankly not that funny. The whole thing smacks of a children’s theater piece with its cloying acting and overly telegraphed staging.

Given the brevity of Der Zwerg, it seems that the desire was to flesh out an evening by pairing it with something else in a Cav/Pag way. Of course this has never stopped LAO from presenting Pagliacci by itself on more than one occasion and while recognizing Ullmann in his own right is a noble idea, this isn’t the work to do it with and not in this context. Still, with something more substantial on the bill, this Recovered Voices double feature is well worth seeing in one of only three remaining performances over the next three weekends.

Labels: LA Opera 07/08

Linda Watson and John Treleaven
Photo: Robert Millard/LAO 2008

I don’t have the heart to ridicule LA Opera’s current production of Tristan und Isolde. Oh, it could be done. Make no mistake, there are numerous things about the production overall that are mediocre – uninspired but competent vocal performances, silly stage business, etc. Others have detailed fully what some of those issues are. But the reality is, I enjoyed the whole thing very much. In part this is due to the fact that I love Wagner’s operas. I, in particular, love Tristan. And mediocre Wagner is still better than excellent Puccini any day. There are some really good things in this LA outing - Conlon and the orchestra gave a brisk spirited account of the score. The Hockney production is excellent and having him in LA to help with the staging was clearly a benefit over the lackluster presentation his design had in San Francisco last season. (The very notable exception there was the superb Christine Brewer).

My reaction to Tristan got me thinking a lot about how people, including myself, tend to write about opera performance. I mean what is so wrong with Linda Watson or John Treleaven. Sure, they aren't the best in the world and they are far from the best ever. But both deliver mostly competent performances. People seem to dismiss them simply because they aren't "inspiring" or transcendent in some way. Sure it's great to hear the best in the world, but isn't there room for artists who can perform difficult material in a competent way? Frequently, the standard for performers is unrealistically high given the easy to access legendary performances that have been recorded over the course of the 20th century. I think performers get compared, fairly or not, both to everyone we ourselves have heard and to many that we have not due to their continued technological legacy. Soon everyone who doesn’t sound like the two or three best ever Isoldes are just “average” or “competent”. I mean are their really that many more or less artists around today that can sing Isolde than there were over a century ago? If so, how do we actually know that or at least how do we know how good or bad these people sounded outside of subjective second hand written reports at the time?

Still, the necrophiliac tendencies of opera audiences are hard to shake. People love to bitch about artists singing roles that they “can’t” or “shouldn’t” be singing. Netrebko gets heat for not being able to handle the chores of bel canto and virtually everyone is criticized for attempting to sing Norma. But I don’t think this is very realistic or fair. If only two or three performers in the world (or two or three performers ever) can sing a certain role, it doesn’t mean very many people are going to get to hear Norma or at least not very often. Sure, it used to be this way - Norma was an opera that was rarely performed in the first half of the 20th century. But I for one don’t think that is preferable. I don’t want to spend my days waiting for some fantasy once-or-twice-a-century ideal performance to experience seeing some of opera’s great works. So sure, I’ve seen better Tristans and Watson and Treleaven are not exciting – but I got to hear Wagner’s marvelous music and that in some ways is more than enough.

I think that Opera is a living thing meant to be performed and experienced live. Too often critics, both professional and otherwise, tend to forget this. And while I love to hear a standard setting performance in the flesh as much as the next person, I think there is much more to loving opera. Since opera, by its very nature, needs to be performed in order to be enjoyed, that often means working with the performers you have on hand even if they aren't ideal. Baroque composers such as Handel didn't seem to have any trouble getting their heads around this, so what's our problem?

Labels: LA Opera 07/08

Big Man on Campus
Photo: Robert Millard/LAO 2007

LA Opera’s current revival of Don Giovanni comes in a season of revivals, borrowed productions, and half-baked ideas that makes it seem like the company is lying in wait for something bigger and better. But it turns out that this is one moment in the company's recent history that might be worth revisiting. This is not only a show, but a star, Erwin Schrott, we’ve seen before. In fact Schrott’s last appearance here in 2003, following his Operalia win, predates much of his international acclaim as the Don of choice throughout the world. Now of course the story has been repeated enough times in enough places that he has become one of the uber-hot faces of the new-sexy-opera-star-myth. Not that he isn’t hot, it’s just that the glamorous opera star is not at all a “new” invention. In fact, Schrott’s performance in LA is actually sexier than it has been in other places like London earlier this year specifically because Mariusz Trelinski’s visually sharp staging leaves a little more to the imagination than a half-naked Schrott pouring wine all over his chest at dinner. (Thank you Ms. Zambello.) Schrott is a master and he is great here throughout and worth the experience in his own right.

But there is plenty else here that is worthwhile. The minimal staging is both colorful and witty without being corny. It is all neon lights, wild hair, and fog and it is a lot of fun. Of course, Mark Swed and the editors of the LA Times remind us that these are “pomo” clichés. (Quaint of them to revive that term which went out about the same time as A Different World. Note to LA Times – if Jasmine Guy can move on, so can you.) But frankly, I’ll take “pomo” clichés over the far more prevalent 19th century ones that form the cornerstone of 90% of American opera productions. I can also attest that after seeing most of the dark-and-stormy-night stagings that appear to be the standard these days, LA should be glad to have something at least a little different. The supporting cast is uniformly excellent and also contains many leading performers of their respective roles, including a magnificent Charles Castronovo as Don Ottavio, Kyle Ketelsen as Leporello, Alexandra Deshorties as Donna Anna, and Maria Kanyova as Donna Elvira. Ironically, the cast was almost a dream team combination of the casts from London and San Francisco earlier this year with the notable exceptions of Ms. Netrebko and Ms. Martinez. But perhaps the best evidence for the strength of the cast overall is this – despite a staging with relatively little in the way of props or stage business, not once did this production feel like a stand-and-deliver opera. Behold, a group that actually has mastered some acting as well as singing. Harmut Haenchen led a not-at-all-shabby performance from the orchestra if not the most historically detailed one ever.

So after this year and all these Giovannis, what have we learned? Erwin Schrott is fantastic and knows how to be sexy with a shirt on. David McVicar rocks. Opera tickets in London are really, really expensive for Americans right now. And above all this - Mozart kicks Puccini's ass - any time, anywhere. If you're here in LA, you've got two more chances to see Schrott and company on stage December 12 and 15. Do the right thing.

Labels: LA Opera 07/08

Karita Mattila and Jorma Silvasti from the Met production of Jenufa
Photo: Beatriz Schiller/Met Opera 2007

Shame on you Los Angeles. Shame on you for leaving far too many empty seats at the Dorothy Chandler Pavilion on Thursday night. An excellent production of a 20th century masterpiece opened there last night, the likes of which you may not see again anytime soon. I'm talking about Janácek’s Jenufa under the musical guidance of company music director James Conlon with an all-star international cast including Karita Mattila, Eva Urbanová, Kim Begley, and Jorma Silvasti. So why all the fuss? This is by no means a new production of the opera. Olivier Tambosi’s stage designs have traveled everywhere form London and Barcelona to the Metropolitan Opera and have even made it to DVD. A nearly identical cast to the one here in LA fronted this very production of Jenufa in New York this spring for what was easily one of the biggest highlights of the entire Met season. Perhaps the strongest thing I can say to recommend this production is how incredibly moving and beautiful it is despite how well-worn its particular grooves are. The basic mill-inspired set and period costumes are set off by a rather blunt concept involving a large rock that protrudes out of the floor in Act I and comes to dominate the entire stage in Act II. While some have argued against this as heavy-handed symbolism, I continue to maintain that it works beautifully throughout the piece and adds a modern edge to the proceedings.

Truth be told, however, the real selling point is the exemplary cast. Mattila has made the title role one of her signatures, and it would be a crime for anyone who cares about operatic singing to miss her here. Begley and Silvasti are both clear, forceful, and spot-on throughout. Probably the biggest change from the recent Met outing is the substitution of the legendary Anja Silja, with Eva Urbanová in the role of Kostelnicka. Urbanová is no Silja, particularly in the acting department, but she is no slouch either. Her beautiful ringing tone lacks Silja's steel, but is surprisingly warm and easily holds its own against Mattila’s standard-setting performance which is saying quite a lot. The fact that Urbanová is also a native speaker makes a big difference as well. LA seems to have fallen head over heels for James Conlon and who can blame us. The orchestra seems to come alive for him with every performance sounding monumental.

Oh, there are some rough edges to be sure, especially here on opening night. Much of the blocking seemed to be planned out by a meth addict, but I attribute this mostly to the need for a little more rehearsal and I think some of the unnecessary bouncing around of the cast will likely smooth out in the coming performances. So, here’s your chance LA. There is greatness in your midst – don’t miss out. There are five more performances left of Jenufa through October 13th and it would appear a criminally large number of tickets are still available.

Labels: LA Opera 07/08

Adrianne Pieczonka with Domingo
Photo: Rick Loomis/LAT 2007

LA Opera’s opening gala weekend concluded on Sunday with a one-night only performance of Verdi’s Requiem, which, despite its shortcomings, provided a moving counterpoint to the previous night’s opening performance of Fidelio. The performance was dedicated to Edgar Baitzel, LA Opera’s longtime Chief Operating Officer and a close friend of General Director, Placido Domingo. Baitzel died suddenly earlier this year and this performance was organized to recognize this loss to the whole company. Of course, Mr. Domingo lost another friend this week with the death of Luciano Pavarotti providing yet another reason for the performance of this peculiarly operatic form of memorial service. Domingo himself conducted the LA Opera orchestra and chorus emphasizing his personal place in these events.

It hardly seems fair to criticize such a performance under these circumstances. Much has been written about Domingo’s recent forays into conducting both here and in New York. And while it is true that his prowess as a conductor is nowhere near that of his vocal work, this hardly seems the time or place to grind an ax. Let it be said, however, that regardless of any issues with musical interpretation, the soloists enlisted for this afternoon could not have been any better. Soprano Adrianne Pieczonka, mezzo Stephanie Blythe, and bass René Pape are at the top of their games and their singing was extraordinary and extraordinarily moving. I have strong positive feelings about all of these performers from prior viewings, especially Blythe whom I’ve heard in this piece before as recently as last year under James Conlon with the San Francisco Symphony. The originally scheduled tenor, Jonas Kaufmann, backed out at the last minute resulting in the appearance of a recent Operalia winner Arturo Chacón-Cruz. In such esteemed company, the pressure on a young singer must be tremendous and it should be said that despite some minor cracking along the way, he was more than sufficient and at times quite lyrical. The chorus sounded great and while it is still early, the performances this weekend bode well for Grant Gershon's tenure with the organization.

So even with all the rough edges, it was a Requiem to remember in that it was felt deeply by many for those that are missed.

Labels: LA Opera 07/08

The big house
Photo: Robert Millard/LAO 2007

James Conlon must give one hell of a halftime speech. Or at least that’s what one would think after Saturday’s gala opening of the 07/08 LA Opera season at the Dorothy Chandler Pavilion. It was your typical gala opening. Celebrities abounded, including the likes of Michael Eisner, with everyone dressed up even by LA standards. (Even Mark Swed had a tie on!) The audience was excessively easy-to-please while simultaneously chatty and generally disinterested. Here’s a fashion tip for all you ladies out there from the folks behind me – apparently this season everyone in the know will accessorize their leathery sun-damaged skin with noisy clacking mother-of-pearl handbags.

The opera itself was Fidelio conducted by Conlon in a rather banal imported production from Pier’Alli with a quite strong primarily German cast including Anja Kampe in the title role, Klaus Florian Vogt as Florestan, and Matti Salminen as Rocco. The performance itself was definitely a split decision. The weird thing is that the split occurred precisely around the intermission. The first half of the show was just short of miserable. Conlon and the orchestra seemed ragged and distracted. At times the cast wasn’t on the same page as the orchestra, which is odd considering the vocalists had little else to do since none of them seem burdened with stage direction. The singing wasn’t bad, Salminen is always admirable if getting on a little in years, and Kampe was quite good. This was her first appearance in LA and her remarkable tone bodes well for her casting in LA Opera's upcoming Ring cycle. Of course when left to their own devices, the cast sometimes got even more far a field. Take for instance Elke Wilm Schulte whose take on Don Pizzaro involved major contributions from Snidely Whiplash. Still, the real problem with any Fidelio, is trying to make it look like a prison yet visually interesting at the same time. Pier’Alli was not completely successful in the first Act with plain grey drab prison walls to set off the plain grey drab period costumes. Nicola Bowie only added to the problems with a troop of soldiers that were intended to move in a manner suggestive of toy soldiers, I presume, but just made everything and everyone look silly. It’s too bad that she couldn’t have used just a little bit of that attention on the prisoners, who could have used something to do other than stand there trying not to look too deformed.

So it was with some trepidation I returned after the break to discover that the team apparently decided to come out and play instead of go home. The entire second act was sung behind a scrim, which Per’Alli used to project a variety of additional scenic images throughout the entire rest of the work. The stage was then lit from behind the scrim and further video augmentation was used against the stage backdrop. Suddenly, you had a dungeon that was not only worth looking at, but added a huge amount of foreboding to the fantastic performance of Vogt with his Act II opening aria. The cast suddenly seemed to come alive, as did the orchestra and audience. Everyone seemed focused and the performance was on target, which Conlon punctuated with the addition of Beethoven’s Third Leonore Overture as bridge music between the two scenes in Act II. Conlon and the LA Opera orchestra received the biggest ovation of the whole evening following this with a scene left to go. However, if I have to pick one hero for the evening, the award goes hand-down to Chorus Master and newly appointed Associate Conductor, Grant Gershon. The LA Opera Chorus may not have had much to do, but they have never sounded better in my opinion and from the moment they appeared on stage they seemed to sing out with new life as if this was their first appearance on stage.

So, who knows, maybe this won’t be such a bad season after all. Fidelio runs through October 6 and is worth seeing if only for Kampe and Vogt, but make sure you stick around for the second half.

Labels: Grant Gershon, James Conlon, LA Opera 07/08