Tag Archives: Eric Owens

Opera Phila’s ‘Don Carlo’ oddly satisfying

Operatoonity.com review: Don Carlo presented by Opera Philadelphia
Composer: Giuseppi Verdi; text by Joseph Méry and Camille du Locle
Live performance: Sunday, April 26, 2015
The Academy of Music, Philadelphia
4-stars

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Opera Philadelphia’s Don Carlo |photos courtesy of Opera Philadelphia

The afternoon’s performance began with an announcement that role of Princess Eboli would be sung by mezzo-soprano Ekaterina Gubenova, who would warble from the wings while Michele DeYoung who suffered from bronchitis would act out the role only, lipsyncing throughout. One had to divide one’s attention three ways whenever Princess Eboli appeared–between the raked stage, the wings, and the supertitles.

The unveiling of an incomprehensible design concept followed–an octagonal backdrop that left me scratching my head because I didn’t understand how it related to story of the King of Spain marrying his son’s fiancée, a French princess, to end the war between France and Spain. The idea that one of the most powerful leaders of the Western world pined that the woman he stole from his son didn’t really love him may be a commonly romanticized Verdi sensibility but seemed ludicrous based on the actions of world leaders today.

Finally, at the beginning of the second half, an announcement was made that bass baritone Eric Owens, the show’s most luminous performer, was not feeling well and asked for the audience’s forbearance in the event his powerhouse aria wasn’t at its best.

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Bass-baritone Eric Owens as King Philip II | courtesy of Opera Philadelphia

While none of those items individually are deal breakers, they did lend themselves to an unusual experience collectively. The human voice may be the frailest of instruments–we all know that. Nonetheless, the audience is disappointed when it fails the performers in the show they are so expectant to see.

Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

(L-r) Dimitri Pittas as Don Carlo and Troy Cook as Rodrigo.

As the lovelorn Don Carlo, New York tenor Dimitri Pittas was simply a dream. He looked the role and sung with unrelenting power and fluid grace. Singing the role of his former fiancée Elisabeth was soprano Leah Crocetto, who sang sweetly and precisely but was not ideally suited for the role physically as Don Carlo’s lover, coveted by men.

Leah Crocetto as Elisabeth De Valois

Leah Crocetto as Elisabeth De Valois

Ekaterina Gubanova

Ekaterina Gubanova

While no one would wish bronchitis on any performer, DeYoung’s illness did offer a first-time opportunitiy to hear Gubanova sing Princess Eboli. She recently performed the role at the Metropolitan Opera and was in top voice. She sings with temerity and a sultry black swan quality. I will certainly be looking for opportunities to see her perform in the near future. She was mesmerizing–merely singing opera in concert.

Baritone Troy Cook from Quakertown, Pennsylvania was ideally cast as the passionate Rodrigo who convinces Carlo to ask his father for governorship of Flanders, becomes King Philip’s pawn, and loses his life. He has a compelling presence on stage with a lyric baritone that is beautiful and powerful.

The biggest name on the bill was Metropolitan Opera star Eric Owens as King Philip. Despite the disclaimer that he wasn’t feeling well, his second-half aria where he laments that fact that Elisabeth never loved him was a showstopper. I have seen Owens perform several times, and if he could have sung that aria better than he did that afternoon, it would have been an operatic miracle. That being said, it does detract from one’s willing suspension of disbelief to be notified that he was ill. I was half expecting him to collapse on stage throughout because the aria is so physically and emotionally taxing.

As evil and selfish as he is, somehow King Philip doesn’t emerge from this story as the Numero Uno Baddie. That would be the The Grand Inquisitor sung with chilling menace by bass Morris Robinson.

Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

(L-r) Eric Owens as King Philip II and Morris Robinson as the Grand Inquistor

Yes, this opera does remind the audience that the reign of the Spanish Inquisition was one of the darkest periods in Western history. Not an easy feat. Consider all the other major contenders. However, did the production have to look so dark? The costumes varied from black to jet black, the set was dark and enigmatic throughout with dark atmospheric lighting, the storyline is relentlessly dark, and the overall effect was, well, oppressive. Sometimes dark becomes darker with the occasional infusion of light and lightness.

One such reprieve very early on was the Women’s Chorus singing as Elisabeth’s attendants. They were lovely to hear and see. Remarkable that the most oppressed sound and look light and airy in this opera and the oppressors dark and heavy.

Many elements made the show oddly satisfying, the Opera Philadelphia Orchestra notwithstanding. Conducted by Corrado Rovaris, the orchestra delivered one of the most consistently striking and admirable performances of the show.

This was an ambitious show, even for Opera Philadelphia. Often in partnership with other companies, in this case WNO and Minnesota Opera, they continue to offer important and challenging works and not just those that commonly appear in the repertoire. They deserve kudos for performing complex operas that aren’t always easy to enjoy. They are making their mark in the opera firmament by being brave and often upstart, demonstrating there’s room for more than one premier company on the East Coast.

 

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the best and worst of the operasphere in 2012

This year was one for the books, so to speak. My 2012 marked many new and challenging review opportunities–thirteen in all, ranging from Philadelphia to New York.

You can read all my reviews on Bachtrack at this link.

Melodic contemporary operas, classic operas done in outlandish contemporary style, never before seen operas, and even opera/musical theatre mash-ups. I saw some pretty good productions with some singularly splendid moments. I watched some not so good productions with several redeeming moments.

Rarely did a see a wonderful opera replete with splendid moments. But it happened at least twice this past year.

Herewith are my best and worst moments of the 2012 season, occurring both on and offstage.

The Best of 2012

For me, the best single production was a tie between Nico Muhly’s Dark Sisters presented by the Opera Company of Philadelphia and Glimmerglass Festival’s Lost in the Stars.

Dark Sisters: The wives of The Prophet, left to right sung by Margaret Lattimore, Eve Gigliotti, Jennifer Zetlan, Caitlin Lynch, and Jennifer Check, appear on a news show to appeal for the return of their children. TV personality “King” is sung by Kevin Burdette.| c. of Opera Company of Philadelphia | Kelly and Massa Photography

I was enthralled by Dark Sisters, a contemporary opera about the plight of women trapped in plural marriage—one husband with multiple wives. You can read the full review here, but suffice it to say that it was a moving, beautifully sung, and technologically stunning production.

Met star Eric Owens (center) in “Lost in the Stars”

Likewise, the Glimmerglass Festival’s Lost in the Stars, an opera/musical mash-up written by Kurt Weill adapted from the novel Cry, the Beloved Country by Alan Paton was a first-rate show.  It was a co-production with Cape Town Opera where it first played with performers who themselves experienced apartheid. Interestingly, Weill wrote this show  as a way to “deepen the American musical theater experience.” Lost in the Stars actually deepened and broadened my opera-going experience.  The full review is available here.

The Worst of 2012

I don’t really want to denigrate any single production or performer–that’s not what Operatoonity is about.  I prefer civility first.

However, I will say that having no #Operaplot Contest this year was a huge personal disappointment.

I can scarcely begin to describe how much I enjoyed participating and reading other entries. I’m sure it is a bear to organize and judge, but that doesn’t diminish the fact that mounting no annual contest was one (of  precious few ) Twitter campaigns sorely missed.

The other disappointment I grappled with was being emailed by a young performer after I didn’t include his name in a review. Yes, he was a lead performer, and he was understandably disappointed not to have been mentioned. However, since he was a young artist, I took the high road and excluded him rather than write an unfavorable review. I asked him if I could interview him on this blog about the challenges of preparing for a professional career singing opera, kind of as a makey-up, and he  declined to participate, another major disappointment.

To all stage performers out there, I need to remind you that reviewer is more than likely a working person who does opera reviewing in his or her spare time. She is overworked, tired, traveled a distance to get there, and endeavors to write an honest review. Therefore, if you don’t intend to bring everything you have to your performance, your overworked, overstimulated, and simultaneously exhausted reviewer (who has seen more than 35 full-length operas and recitals in venues from D.C. to the Met in the last 28 months) is likely to notice.

That’s it for Operatoonity’s birds-eye view of the best and worst of 2012.

Here’s to happy opera viewing and greener musical pastures in 2013.

 

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Filed under Best of Operatoonity, favorites, Festival Opera, Performers, Rant, Regional opera, Reviews