Girl at the Opera


Mozart, Mendelssohn, and Bartók at Houston Symphony
Monday March 30th 2015, 10:29 am
Filed under: Houston Symphony

…And Augustin Hadelich, playing Bartók’s second violin concerto, took the cake. Read my review at Bachtrack.



Damnation without Purification
Monday March 23rd 2015, 10:13 am
Filed under: Houston Symphony

My review of Houston Symphony performing Verdi’s Requiem on Friday night.



A Clarinet to Remember
Monday March 16th 2015, 12:11 pm
Filed under: Houston Symphony

An invigorating trio of Ives, Copland and Dvořák at Houston Symphony Orchestra this weekend, with soloist Martin Fröst, in his HSO debut, leaving a deep impression. Read my review at Bachtrack.

 

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Graf Conducts at Houston Symphony
Monday February 23rd 2015, 12:49 pm
Filed under: Houston Symphony

It was a slow night of Hindemith, Saint-Saëns, and Schumann at Jones Hall on Friday. Read my review at Bachtrack.

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Status Report on Opera in the Heights
Thursday February 12th 2015, 1:58 pm
Filed under: Opera in the Heights

Deji Osinulu Photography

A year in review: Read my report on the (soap) Opera in the Heights at Houstonia Magazine.

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Magic Flute at HGO: Bad Conducting, Great Singing
Tuesday February 03rd 2015, 9:36 am
Filed under: Houston Grand Opera

Photo by Lynn Lane

It was the slowest Magic Flute I’d ever heard. Read my review at Houstonia Magazine.

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Relish the Clemency in OH’s La Clemenza
Sunday February 01st 2015, 2:05 pm
Filed under: Opera in the Heights

 

Celeste Fraser as Vitelia and Zach Averyt as Tito. Deji Osinulu Photography

“I must win the loyalty of my people through love,” sings the beneficent Tito in Act Two of Mozart’s rarely performed opera La Clemenza di Tito. Opera in the Heights bravely took on this neglected late opera and performed it with heart, reminding me that it had been one of Mozart’s most popular operas until about 1830, and perhaps it should be again.

It is another rarity when a sovereign rewards honesty with amnesty, even when a subject confesses to plotting his assassination. And as such, La Clemenza is a plot that relies on the ensemble numbers that are so celebrated in Mozart’s other operas. Watching the Emerald cast—a passionate collection of talented young singers—it was clear they had taken great care of the trios, the quartets, and the chorus numbers.

The early chorus march “Serbate, o dei custodi” led by tenor Zach Averyt in the role of Tito, was full and lively. The fiery trio “Vengo! Aspettate!” between Justin Hopkins, Jennifer Crippen, and Celeste Fraser (which comes when Publio and Annio tell a shocked Vitellia that Tito wants her as a consort) rang together with attention to the harmonic subtleties while also communicating Vitellia’s veiled despair.

Hopkins, a bass-baritone whose full, light timbre as Leporello stole the show in OH’s production of Don Giovanni last season, was a stand out again. Making her OH debut as Sesto, mezzo soprano Vera Savage left an impression vocally and otherwise. The victim of Vittellia’s seduction, Sesto is a desperate man. Sure, we’ve seen trouser roles before—when a female singer dons the character of a man—but have we seen a woman in a trouser role slowly strip off her suit and tie in an act of frustrated passion to stand confidently in only underwear? Savage pulled it off with panache.

Stage director Keturah Stickann has done exceptional work with the Lambert Hall stage. The blocking was smart, never feeling overcrowded, and the window cut-out at center stage proved a visual treat. The stage, papered from floor to ceiling with newspapers and charcoal pitchforks, bespoke a timely present-day obsession with gossip and misconceptions. The costumes designed by Dena Scheh—sharp suits set against decadent gowns—were tasteful and divinely popped against the newspaper background.

The orchestra, under the new direction of interim conductor Eiki Isomura, was reliably solid. Even so, there were a handful of unfortunate moments when the singers lagged behind the orchestra. Isomura notes in the program that initially he felt intimidated by La Clemenza. While he seems in many ways to have conquered this (a triumphant downbeat to the overture surely testified as such), overall he directed with a slight awkwardness, as though he were still getting to know the score and his musicians.

It’s not often that opera celebrates the deep virtues of forgiveness, generosity, and love, where the opera ends with a chorus of loyal subjects asking the gods to grant their sovereign a long life. More regularly, audiences are confronted with prolonged death, lingering deceptions, and questionable moral codes that no doubt delight us (Don Giovanni, for example), but are nevertheless commonplace in the genre. Here, we are left with a uniquely comforitng blanket absolution thanks to the zeal of OH’s cast and the warm familiarity of Lambert Hall.



A Soprano saves HGO’s Madame Butterfly
Tuesday January 27th 2015, 8:26 am
Filed under: Houston Grand Opera

Photo by Lynn Lane

What would this production be without soprano Ana Maria Martinez? Read my review of Houston Grand Opera’s Madame Butterfly at Houstonia Magazine.

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Fisk and Phan at the Menil
Friday January 23rd 2015, 3:05 pm
Filed under: Da Camera,Houston Grand Opera

Eliot Fisk. Courtesy Da Camera

 

Two phenomenal artists are coming together on Tuesday night in a concert filled with Britten and Dowland song cycles. Nicholas Phan, a spectacular tenor, is no stranger  to Houston. From 2002-2005, Phan was a Houston Grand Opera Studio Artist. After his appearance here in January, he will return to close HGO’s season in the role of Tobias Ragg from Sondheim’s Sweeney Todd.

He is joined by Eliot Fisk, a musician who has long been a hero of mine and who is widely considered to be the best classical guitarist in the world. I had a brilliant time speaking to them both and not nearly enough space to do them justice. Read my preview of Tuesday’s concert at Houstonia Magazine.

Their concert is Tuesday, January 27 at 7:30pm in the Menil Collection. For tickets and more info, visit Da Camera of Houston.

 



Mozart and Shostakovich at HSO
Monday January 19th 2015, 2:54 pm
Filed under: Houston Symphony

Water sprites and revolutions–a delight indeed this weekend at Jones Hall. Read my review of Houston Symphony’s concert at Bachtrack.

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