Eugene Onegin at the Sydney Opera House

Wednesday 20^th March 2014 Sydney Opera House.

Eugene Onegin - [Yevegeny Onyegin] - Tchaikovsky

 

Tatyana - Nicole Car

Onegin - Dalibor Jenis

Olga - Sian Pendry

Madame Larina - Domenica Matthews

Lensky - James Egglestone

M. Triquet - Sam Roberts-Smith

Prince Gremin - Konstantin Gorny

c. Guillaume Tourniaire,

 

This opera is a must-see … yet I attended one of the last performances.  A tasteful, clever production is peopled by serious singers in a gutsy and profound opera with a maudlin start, partying middle and an ending which is unhappy for three of its main players.  And this is what opera is made of … or it should be. 

 

It was not initially clear who the real ‘star’ was, so balanced were the singers.  However, on reading Mr Jenis’s biography it is likely that he was the one raising the standard … he is slated for Nabucco in Berlin, Figaro in Paris, Escamillo and Renato in Verona, Yeletsky in Bratislava (his home town), Don Giovanni, Roderigo, Macbeth, Di Luna and more besides in just one year.  Such a ‘star’ in the title role brings out the best in everyone else and should sell seats (and subscriptions for next year).  The voices were large, accurate and exciting with the exception of Monsieur Triquet (who is meant to be delicate and effete). 

 

In the title role Slovakian baritone Mr Jenis sings solidly and his acting is credible, made all the more challenging with a ‘double’ shadowing much of his stage action.  His party trick is the sustained high note which he uses with great aplomb, but not to excess.  If you have got it, why not flaunt it?  Goose bumps all round, yet the audience gave no rapturous ovations during the performance, saving appreciation to the end.  

 

As Lensky Mr Egglestone coloured his long and difficult aria elegantly, starting out almost inaudibly piano (‘Kuda … kuda’) yet rising to a major fortissimo, knowing his risk of being dead in minutes in the duel.  And we saw his body on stage for the remainder of the opera, one rather odd aspect of an otherwise sympathetic and tasteful staging.  At least it avoided the indignity of dragging a corpse off stage. 

 

Ms Car sang superbly, possessed of a large and pleasing voice.  Tatyana’s long letter scene (Onegin also has a ‘letter scene’ at the end of the opera) kept the tension between her modesty and impetuousness.  Simultaneously the written word was cleverly projected onto billowing curtains while Tatyana and her ‘double’ vied for the pen and paper (one might quibble at the quill and absent ink well - maybe it was a pencil). 

 

Russian bass Konstantin Gorny sang Gremin’s haunting aria with dignity and seismic style.  It is rare to hear a true bass and it is always a pleasure when it is as schooled as this.  That he is young and handsome is no odder than mature sopranos playing youthful roles.  

 

The action unfolded within three large openings in a panelled palace interior.  Large bi-fold doors or curtains at times revealed autumn woods, garden scene, dancing or a snow storm. 

 

Apart from myself, I noted at least two other gents in the audience wearing a strawberry shirt and light blue jacket.  Perhaps the gents’ style centre of Sydney has returned to Bennelong Point! 

 

A nice touch, after mention of Samuel Richardson novels by the sisters, was an ever-present pile of books on stage.  A screwed up letter was also left on stage for several scenes, finally accompanied by its reply, much too delayed to be meaningful. 

 

The production’s unique moment for me was in the duel when Onegin’s ‘double’ ran to try to stop the bullets which nevertheless hit their mark as Lensky dropped to the ground. 

 

The chorus was first class, only one member remaining from the old days, Dr Robert Mitchell, whose ‘corporate memory’ must be invaluable to this company.  Supporting cast members were all also excellent. 

 

The Sydney Onegin was a co-production with London and Turin directed by Kasper Holten with sets by Mia Stensgaard with costumes by Katrina Lindsay.
There is the well know magnificent waltz for the ball scene … and the piece for Gremin’s reception performed presto with clarity and equipoise … from a consummate orchestra with competent maestro at the helm. 

 

In my side circle seat I was part of a near capacity house.  Yet as usual there were about 50 restricted view seats unoccupied.  These should have been given to music students, each of whom would have had a unique experience in the theatre to savour for the rest of their lives.  ‘Empty seats are a curse on the management of a theatrical company’ (W. Shakespeare, Globe Theatre board minutes, London, 1596 TIC). 

 

Notes by Andrew Byrne ..

 

Opera blog: http://andrewsopera.blogspot.com/

 

'Turco in Italia' at the Sydney Opera House.

The Turk in Italy - Rossini - Sydney Opera House.  Wed 22^nd January 2014

Sydney opera fans should not miss this rare outing of a minor Rossini gem.  Il Turco in Italia was mounted for Callas, Sills, Caballe and Bartoli but has never entered the general repertoire.  This ‘Turco’ is a fun romp for audience and artists alike … however putting opera singers into swimsuits can have its down-side too (see below). 

Turco is probably avoided by opera companies because of serious competition, especially Rossini’s own manifold works. Turco is thirteenth of his forty operas and came on the heels of the very successful L’Italiana in Algeria. Yet despite much early acclaim for these works, only Barber of Seville remained in the repertory until the 1950s. 

It is said that Rossini was sitting up in his bed composing and a page of his music dropped to the floor.  Rather than going to the trouble of retrieving it, the story goes that he stayed in his bed and just wrote another page of new music to replace it.  And so flowed the melodies in Il Turco in Italia … the listener will have to decide how these tunes compare with La Cenerentola, Semiramide or Il Barbiere di Siviglia.  There is a charming sextet to end the first act.  One of the male arias seems to have been borrowed from the Barber of Seville … or maybe it was the other way around. 

The overture is a glorious and memorable piece of novel orchestration, full of melodic invention, rhythm and style.  Yet the production took attention away from this concert masterpiece by presenting a plethora of beach-bum fuss on stage, a comedy routine which led to applause and laughter interrupting the music.  This magnificent sinfonia should have been showcased … maybe even played again (‘Sam’) for the second act!  The work is long, however, and if Die Zauberflaute warranted editing so too might Turco. 

The translation was very loose, often slap-stick and frankly crude at times.  The laughs sometimes came before the actual gags due to the titles being visible … but this comes with the territory and nobody would want to return to the pre-titles days. 

In his operas Rossini uses various ‘tricks’ such as a tapping baton, rolling ‘R’ concerted ending and in this opera we have a narrator, Prosdocimo, who is writing a play and using the opera’s events as inspiration (or plagiarism).  And the playwright here is Samuel Dundas, using great flair and energy.  And he doubles as barman, sommelier and waiter. 

Emma Matthews was the star and one can see why other divas have moved to bring this work out of its long obscurity.  Ms Matthews does the coquettish thing as Fiorilla and flies into the coloratura stratosphere regularly both on her own and in concert. 

Contrary to Turkish mores this production takes place at Geronio’s cocktail bar on a southern Italian beach resort.  Just about everything that could happen at such a bar does happen.  Wooing and surrender, jealous fights, undressing, mistaken identities, etc.  There is even a kitchen blender, perhaps for Halal fruit cocktails - as well as to shred banknotes offered by the Turk to Geronio to purchase his young wife.  The Geronio couple live upstairs, glamorous Fiorilla (Emma Matthews) with her older portly husband, ably played by Conal Coad.  The latter is a fine singer but is perhaps over-exposed in Sydney of late.  Lover-boy Turk Selim Pasha is played by Italian Paolo Bordogna who is yet another bass-baritone who is more baritone than bass - but more than adequate for the part.  His devilish sexy persona would be at home on Broadway as it is in the opera theatre. 

As the paramour muse Narciso we heard Brasilian tenor Luciano Botelho.  He sang with accuracy and poise, having a natural ‘dry’ tenor voice, hitting some risky high notes, most of which paid off.  The opera had a great deal of dressing and undressing on stage, including a hilarious aria by Narciso sung in a beach changing box as he morphed into a Memphis man (see below). 

Zaida is played by Anna Dowsley, a capable young Australia mezzo-soprano.  She is not (?yet) ideal for the role which needs a more mature mezzo voice to contrast with Emma Matthews as well as to be a believable partner to a Pasha. 

Breaking with operatic tradition, most of the cast was chosen for appearances first and voice second.  There were only two singers of a certain imposing stature in this show, one a male principal singer, the other a Rubenesque chorus member (at the bar and not in swimming costume).  Experience tells us that larger singers often have the better voices, so where does that leave the listener?  Frustratingly we may have been deprived of what the opera audience craves most: big beautiful vocalism, for the sake of a director‘s peccadillo.  One of the best singers of our day, Stephanie Blythe, would have been eliminated on this basis.  Yet wherever she sings the house is usually sold out as she delights audiences at the Met and elsewhere. 

The Turco denouement has the characters dressing up for a masked ball in which the lovers are meant to catch each other out.  Starting with Narciso in the bathing shed, all the men dress as Elvis Presley while the ladies wear Marilyn Monroe get-ups to the enormous mirth of the audience.  Conal Coad posed as Selim Pasha despite being double the girth of his Eastern rival!  But this IS opera, after all!  Crazy stories, fat ladies singing into the night, etcetera. 

This brought us to the vocal high point of the evening, a magnificent performance by Ms Matthews who reads a divorce letter from Geronio and then laments her ostracism (premature as it happens) from the society of her husband and the world she is used to … while the other lovers reunited, prepare to sail back to Turkey.  In her five-minute solo, Ms Matthews’ accuracy and control were sublime, and at the excited response from the audience well justified.  The fact that she sang this only two nights before (Wednesday then Friday) makes the feat all the more impressive.  However, it does not do the management much credit, since the vocal cords of a singer are like the feet of a marathon runner and they need more than one day to recover after use.  And it is upon those cords that the opera company and this opera’s success or otherwise depends. 

While I am pleased to have seen it, Turco pales next to William Tell or Semiramide.  Nevertheless, the Sydney audience gave an enormous ovation to the well rehearsed curtain call à la Broadway.  The company might have done a greater opera with a similar cast, yet I confess such comparisons are risky.  Let the reader judge, hopefully after hearing the whole opera, whether it was worth the effort. 

The evening had not one but two patrons being our state AND federal vice regal representatives, plus an extraordinary array of VIPs, lawyers, medical people, business folk, etc.  I spoke so some subscribers who were surprised to learn that their tickets were for opening night.  Such seats used to be unobtainable without a long wait and/or a large donation to the company.  But the company’s subscriptions have dwindled from about fifteen operas to less than ten … and lots of performances of musical comedies … which are now the company’s stock in trade rather than grand opera.  But I go on.  At least we still HAVE an opera company, even if much of what it does is ABC (Aida, Boheme and Carmen). 

Comments by Andrew Byrne

Andrew's blog http://ajbtravels.blogspot.com/

 

Magic Flute at Sydney Opera House. Worth a trip, for sure! "Boring bits removed"

The Magic Flute - WA Mozart (1756-1791)  Sydney Opera House Fri 10^th Jan 2014

Written in the last months of Mozart’s short life, Die Zauberflöte is one of the great works for the operatic stage.  A moralist love story involving Masonic rituals and themes it is quite long and has been the subject of many cuts.  And this cut-down version is successful, as one I saw at Glyndebourne many years ago which replaced the dialogue with sign language and titles.  That said, to cut the famous portrait aria in half seems over-the-top, like cutting Shakespeare or Holy Scriptures.  More about this condensed version below.

Unlike most of his works, Mozart chose some of the highest and some of the lowest parts for the voice in Magic Flute.  It was written for an enthusiastic impresario who was also an amateur singer, taking the part of the bird catcher Papageno himself, here sung and acted admirably again by Andrew Jones. 

One vocal surprise was Sarastro, leader of the Brotherhood, ably played by African American bass Morris Robinson.  He has a modest but pleasant upper register but several booming basso notes, all except for that one last note which only Kurt Moll seems to be able to sing these days (aged 75 and still singing well).  Mr Robinson’s elegant presence and dignity was matched by his musicianship. 

The Queen of Night was Milica Ilic who got absolutely all of the notes and most of the high-tension drama.  John Longmuir is one of those rare tenors who can sing Tamino’s taxing vocals yet there is less beauty, poise and regal presence to his performance as there might be.  Pamina was sung more than adequately by Taryn Fiebig.  Kanen Breen made a brilliantly wicked Monostatos. 

It was a night of catching up with old friends including a neglected (by me) Godchild who has grown into a beautiful young woman (and who coincidentally majored in playing the flute!).  It would not be January in Sydney without Geoffrey Robertson QC in the first night crowd.  Meantime, some of Sydney’s top barristers are probably frequenting Covent Garden!  Governor Marie Bashir was Patron of Honour.  At interval Bronwyn Bishop MP related some Neanderthal views on addiction issues and was good enough to spend five minutes telling me how to do my job better … which would be amusing except that some in her party are now making retrograde decisions which will impinge negatively on Australian public health for years to come in my estimation.  What a shame they cannot look dispassionately on the use of alcohol and other drugs by fellow citizens … and resist the strong influence of the all-powerful drinks and tobacco lobby. 

The opera was well received and there was even a little audience participation with a child responding ‘one’, ‘two’, ‘three’ to Papageno’s whistle calls (or was it a “plant”?).  I would not be doing the pedantic reviewer’s job if I did not mention the line in the opera about the flute being hewn out of mature oak when in fact the flute used was silver metal like all modern instruments.  Less forgivable was a deafening premature thunder clap in the middle of Sarastro’s aria; also the three Royal ladies (sung brilliantly by Ms’s Ede, Pendry and D. Matthews) were trapped momentarily in a perspex Tardis time warp as a certain circular curtain refused to release them. 

Now for the really critical part: The program states incorrectly that this is “from the original production of The Magic Flute by the Metropolitan Opera, New York.”  In fact it is closer to the later Children’s version of that production (which had no intermission) and, as above, is substantially cut-down.  This was not mentioned in the season brochure, nor on the evening cast list and synopsis.  A long-time subscriber friend told me he was not going as “The Flute is just so long” … yet he would have been pleasantly surprised that it is not a late night and most of his avowed ‘favourite arias’ were included.  Others, like three German students sitting in front of me, might be expecting an extra half hour or so of Mozart and Schikaneder and be sorely disappointed.  “Honesty is the best policy” would be my advice (not that the company seems to take advice). 

This issue is yet another sign of poor management by Australia’s national opera company which has lost its way over a decade now.  After re-reading a speech given by the artistic director from 2011 it is a wonder the company is in business at all ( http://opera.org.au/discover/features/lyndon_terracini_pgh_address ).  It contains many contradictions and seems confused and accusatory.  Terracini fails to demonstrate any real insight into the art form … and his attempt to rationalise the ethnic diversity in opera is frankly embarrassing, presuming that there is just one Asian way of dying on stage as if Asia was a single country.  I am not so vain to think that I am part of “the club” which he repeatedly refers to as if it were his mortal enemy.  Impresarios always have to try to please many different factions. 

Despite all this, Magic Flute is a delightful operatic outing and highly recommended for anyone who has not yet seen the Taymor version of this masterpiece.  There are 25 performances up to mid-March.  Two casts allow back-to-back performances, something that is not done very often, but once worked well for Aida in Sydney.  It depends critically on the quality and versatility of the singers.  One only hopes that the second cast, performing just hours later on the Saturday matinee, were as good as for opening night.  This reviewer is not up to both, sorry to say.   

Nor did I attend the season opening a week earlier as it was yet another re-run of La Boheme with singers who we had mostly heard before recently.  The Boheme may have been ideal for first time opera goers.  But in his speech, Mr Terracini lectures old-timers that we should not complain at re-runs of the great works since they are indeed great works (same as this Flute production from 2 years ago).  Yet he fails to mention that once upon a time these re-runs regularly presented some of the greatest names in world opera.  Luciano Pavarotti was in one such re-run on this very stage and in La Boheme.  By contrast, it is intriguing and smacks of a contractual error that world class baritone Giorgio Caoduro is playing the role of Marcello in Sydney.  While it is a crucial role in Boheme, many Australian baritones could have sung it adequately … so for a top international star to perform a role without as much as one aria seems wrong headed.  Caoduro sings Figaro, Enrico, Belcore and other top roles all around the world according to his web page.  There is also the risk that he may out class the other singers on the stage.  Just another sign of the lack of balance and judgment one might hope for in mature opera casting. 

In short it seems that much of what the company does these days is “side shows” rather than core grand opera.  “Opera on the Harbour” is a side show using amplified singing which is not opera in my book (same for the Domain opera - but at least that is free and a one-off).  Likewise ‘Opera on the Beach’.  About half of the season now seems to be musical theatre, of little relevance to the art of grand opera either.  While it is certainly grand opera, The Ring in Melbourne was wonderful for southerners but can hardly be considered a benefit to Sydney-siders.  Would they do Il Trittico in both cities to ‘make up’?  I don’t think so. 

Is it too late to resurrect a true, high quality opera company?  Or has management pushed their public and their artists beyond the point of no return?  They have certainly lost much of their subscriber base.  Do they employ any resident great opera singers?  And their grand opera output is almost unrecognisable both in quality and quantity from the many decades of marvellous, varied, international standard opera in Sydney, Melbourne and beyond. 

Notes by Andrew Byrne ..

Sumptuous Traviata sizzles at season’s end.

La Traviata Thursday 22^nd August 2013 Sydney Opera House. 

Dear Colleagues,

My last opera for the Sydney winter season was La Traviata.  (I am NOT going to South Pacific although I am sure it will be excellent).  A knowledgeable friend had contended that Emma Matthews had a small voice so I made a point of sitting towards the rear of the theatre (back seats of Loge Y - and they only cost $44 each).  Ms Matthews’ voice filled the hall perfectly well and her delivery was faultless.  She injected sex appeal [sic], impishness, vulnerability and despondency as required by the drama.  She also used a phenomenally difficult coloratura at the end of Act I and lasted the distance to a tragic demise in Act III. 

By contrast the tenor playing Alfredo was barely adequate.  Martin Buckingham was promoted from the opera chorus and despite a valiant effort was clearly in difficulties from the start.  I recall Vinson Cole calling this part a 'killer role'.  If only Mr Buckingham had not attempted two unwritten high notes he may have got away with it.  He cracked on an optional high note in the off-stage section at the end of Act I.  Then in Act II he then sang a fine 'De miei bollenti spiriti' but attempted the optional high note at the end of the cabaletta which was strangulated, curtailed and ugly. 

I was a little surprised that the company chose Shane Lowrencev as Baron Duphol who plays the close guardian of Violetta in the party scene.  Having been cast in major principal roles he was now reduced to this comprimario part, which he sings perfectly well.  However, it was hard to overlook the singular difference in height between the diminutive soprano and Mr Lowrencev who must measure near 2 metres.

Along with the soprano and marvellous production by Elijah Moshinsky, another strength of the evening was the velvet baritone singing of Jose Carbo as father Germont.  He looked and sounded every bit the part and it is surprising that we don’t hear him more often in our opera seasons.  He should just be signed up on a serious retainer but the company just does not do that any more. 

Patrick Lange conducted a professional orchestra with traditional tempi and not drawing attention unnecessarily to either himself or his band.  The opera chorus also sang and acted well in the cramped conditions of the Sydney opera stage. 

Another good night at the opera.  We are privileged indeed to have an opera company at all in far off Australia although it is depressing to think that the seasons are now so depleted from the ‘golden years’ of the 1980s, 90s and so on.  And not much changes with the new season announcement, sad to say.  To learn that Carmen is featured would make many subscribers groan so often have we seen this opera.  Some of the main drawcards are not actually opera performances at all.  There is a Sunday evening concert by German tenor Jonas Kaufman (top seats are $350).  Yet we will be denied Mr Kaufman’s great attribute, being his intense stage presence and acting in an opera.  Even at his absolute prime Luciano Pavarotti sang three performances (of La Boheme) with our opera company.  Likewise dozens of the world’s top singers.  Other "side-shows" for 2014 include ‘Opera on the Beach’, ‘Opera on the Harbour’ and ‘The King and I’.  So the company moves further and further away from the Mission Statement which was on their web site when Mr Terracini became the head honcho. 

Comments by Andrew Byrne ..

 

Don Pasquale comes to Sydney Opera House.

Don Pasquale. Sydney Opera House Wed 7^th August 2013. 

Don Pasquale - Conal Coad

Dr Malatesta - Samuel Dundas
Ernesto - Ji-Min Park
Norina - Rachelle Durkin
c. Guillaume Tourniaire p. Roger Hodgman
 

Dear Colleagues,

This Don Pasquale opened with a sepia-like scrim projection with a vintage movie promotion.  While perhaps of some meaning to those ‘in the know’, this seemed of little bearing to the chocolate-box production we were about to enjoy. 

The stage was a charming house and street exterior which rotated to an equally charming if dated domestic interior.  This was transformed to a super-contemporary setting after the intervention of the ‘modern’ young wife in the second act, part of the plot to drive the rich old philanderer mad and make him renounce his decision to re-marry, thereby disinheriting his nephew Ernesto. 

The work’s most famous tune, first played on the ‘cello in the overture, should be a gift to the tenor.  Com’e gentil was a delight with Korean tenor Ji-Min Park putting sensitivity before panache in the aria, producing a non-falsetto and legato ending.  He was the real star of the night in my book. 

Likewise, Norina’s aria is a spin for the coloratura … and Ms Durkin is up to it.  Her voice is capable and well projected, yet it lacks the innate beauty of the finest of the genre.  She was exemplary as one of the ugly sisters in the Met’s Cenerentola in New York. 

Like the changed domestic décor in Act II, so we also see the transformation of Mr Coad from house clothing to formal attire for the wedding then the inevitable hangover in which he is bestraggled again.  Mr Coad has an impressive voice and comic presence - with a facility to fit fiddly syllables into his patter, no more than in the duet with baritone ‘Cheti, cheti mantinente’. 

Mr Dundas as Dr Malatesta (Italian for ‘headache’) sings and acts with style and flair as the scheming, unethical doctor on house call.  Yet his command of proceedings is not as unanswerable as it might be. 

Don Pasquale contains many other memorable melodies, taxing and beautiful arias, choruses and a brilliant overture, to boot.  We have waited far too long for this classic comedy of the Bel Canto genre.  Yet we have the Elixir of Love next season, a reflection of the narrow repertoire the company now follows. 

Despite my misgivings about the company’s longevity this was altogether a most enjoyable night at the opera - head spinning with tunes and good spirits at the end of the night and, unlike the other season offerings, nary a body on stage! 

 

The opera company has now proven that it can put on consistently good quality opera having done Forza del Destino, Tosca, La Traviata and Don Pasquale in the first months of the winter season.  But at the risk of repeating myself, once upon a time a winter season had much more than this.  In September the ‘opera’ company becomes a light musical theatre company for two months during which mostly opera was traditionally performed.  This was made necessary due to an exodus of subscribers responding to years of poor quality opera and in an effort to keep the company afloat financially.  They did the wonderful musical South Pacific two years running in over 100 performances, demonstrating my point about a true grand opera company which served the public and opera communities for so long. 
 

Some of my readers have asked about Carmen on the pontoon on Sydney Harbour.  Again, despite misgivings, I attended this event for the second year running and had a simply marvellous time taking in the crowds, evening air, stars, city views and lastly, the music, vocals and drama.  It is more like a fun fair than the opera house.  I did not stay for the whole opera so will not give a critique of the performance, which seemed to be of a high quality for what I saw and heard.  Furthermore, I did not pay the big bucks for the extremely expensive centre seats.  Like the old dry cleaning maxim ‘all care but no responsibility’. 

Handa Opera on the Harbour has now had two years of favourable weather (only one night rescheduled if my information is correct).  Furthermore, the temperature and wind levels were favourable as if some genie were looking after the event.  It is only a matter of time before there is a season disaster due to bad weather to which Sydney can be prone.  While it was a lovely distraction, in the face of rain, high winds or cold, one may well question why not use the charming little opera house nearby.  And why are we hearing amplified opera singers whose arduous lifetime training is to sing without microphones?  There was certainly no amplification when opera started in the Arena di Verona in 1913. 

Comments by Andrew Byrne ..

 

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Concert at St Jude’s Church, Bowral Sunday 25th August 2013

Carnegie Hall and Covent Garden come to springtime Bowral.

Yvonne Kenny, soprano

Simon Tedeschi, pianoforte

 

Ms Kenny has been singing at the highest levels in the world’s opera houses for decades.  She has now wisely moved her repertoire to lieder and light song, both of which she is still eminently capable.  Yet there was no hint that she was taking it easy as she pushed herself to the vocal limits, filling the hall with glorious vocalism.  Furthermore, she sang nothing that was not ‘in the voice’.  From serious high notes to an almost baritonal chest register, she put meaning, energy and beauty into every phrase.  Her breath control was superior while her delicate pianissimi studied, effective and accurate. 

Mr Tedeschi has an incomparable keyboard facility as well as being a sympathetic accompanist.  Ms Kenny said he was “the Rolls Royce of accompanists”.  One might be amused by his youthful, casual and almost goofy stage presence, ill fitting tuxedo and all.  But nobody laughed when he started playing.  One of Mr Tedeschi’s strengths was his terminal soft note, often taken after a long but tasteful pause.  It is easier to play the piano loudly than otherwise. 

Following an initial bracket of Schubert lieder by Ms Kenny, expertly sung, we heard Mr Tedeschi in Schubert’s Impromptu Op. 90 No. 4 and Debussy ‘En Bateau’.  The latter were both taxing show-pieces for the keyboard, brilliantly executed. 

Before interval there were songs of Faure, Debussy and three by Hahn.  British folk songs started the second half, followed by three Gershwin preludes and ‘In Dahomey’ (‘Cakewalk Smasher’) piano variations by Percy Grainger (1909).  The latter has a dramatic keyboard ruckus in which Mr Tedeschi might have damaged both his own fingers and the Bechstein grand piano but for his dexterity (I was later informed that the piano was a Asian model ‘re-branded’ as a Bechstein). 

Some lovely ‘modern’ songs ended the jam-packed concert (Gershwin, Kern and Ivor Novello).  One encore was (I think Irish): “Sing it yourself!”

I spoke to both the artists briefly afterwards … they were generous in mingling briefly with the crowds spilling out of the over-full church. 

I hope these reflections are of interest to readers … more about Don Pasquale and La Traviata in due course on my blog.  Also Carmen on the harbour was an unexpected pleasure.  The Sydney opera season ends on Saturday 31^st August and “rush” tickets have been aplenty, even with this short season. 

 

Written by Andrew Byrne ..

My friend Bob Borowsky sings "Di Provenza il mar il suol" from La Traviata

Glorious Sydney Tosca - roll up, roll up!

Tosca - Puccini - Sydney Opera House Saturday 6^th July 2013

Dear Colleagues,

Opera is about voice, voice and more voice.  Clothed in marvellous costumes and a life-like Roman Catholic setting around 1940 this Tosca would satisfy the most demanding opera goer and equally, win over any budding novice, largely on the voices which were magnificent. 

As Cavaradossi, tenor Mr Yonghoon Lee was first class.  Slender, tall and ‘Bohemian’ looking, his splendid performance drew a (partial) standing ovation at the end.  His Metropolitan and La Scala appearances were highly praised, with good reason it seems. 

Greek soprano Alexia Voulgaridou performed the title role with gusto, flair and beauty.  Her voice is enormous, accurate and well modulated.  There is not the length of breath to emulate Caballé in her unique Vissi d’arte, yet the high tensile vocalism was extremely effective and comparisons are odorous, as the Bard wrote.  We last heard her in La Rondine with the SSO in 2008 when she was equally impressive. 

Veteran baritone John Wegner seemed slightly under-power as the evil Nazi sympathiser Scarpia and one wondered if he was harbouring a winter virus.  He was menacing and effective nonetheless. 

Supporting artists David Parkin (Angelotti) and John Bolton-Wood (Sacristan) were also excellent. 

Direction by John Bell was sympathetic and effective, making this opening one of the most enjoyable opera performances I have heard in Australia for some time.  Bell set the piece in the high Nazi period but Swastikas were only used on three occasions, including a ripped red banner used to cover Scarpia’s body.  I learned later that two incensed Jewish patrons were responsible for booing at the end.  There were a couple of anomalies and some brilliant innovations, including Tosca’s death.  Such is opera, raising emotions of all kinds! 

It was a major risk doing yet another production of Tosca in Sydney, especially doing 19 performances.  So many subscribers have abandoned their long held seats that the company will have enormous trouble clawing back support.  Eventually they will run out of musical comedy or else the Australia Council will realise that its funds are not being spent on opera.  Each year of late the company has simply replaced the shrinking opera audience with musical comedy to make ends meet.  This year has yet another very long season of South Pacific (Sept 8 to Nov 2 in Sydney and up to 12^th January 2014 in Adelaide and Perth).  That’s a third of the year spent on ‘non-core’ opera activities for the national opera company!  The once almost unobtainable Gala opening night seats are now freely available and some people I ran into did not even know that it was opening night.  

There are only nine performances with the opening cast of lovers - then Cheryl Barker sings with Diego Torre, both also highly competent artists. 

But they are also being overworked.  On numerous occasions singers are to perform with only one day’s break, contrary to a long tradition in serious opera houses of using two lay days between performances.  During one nine day period they are to sing five performances, a super-human feat some might think.  Grand opera is akin to marathon running where pacing oneself in a performance, a season or a career are all crucial decisions. 

So if you can get along to the Sydney Opera House I highly recommend this cast and this new magnificent production of Tosca. 

Notes by Andrew Byrne ..

La Forza del Destino - Sydney Opera House: season opening, Sat 29th June

If you can get to see this opera this short season you will not be disappointed.  There are four excellent imported artists with three or four top-rate Australians in one of Verdi’s most melodic and melodramatic works.  It has one of the most inventive overtures every written, vying for equal place with Nozze di Figaro and Semiramide.  The production, sets & costumes are quite brilliant with an almost credible ‘take’ on an unbelievable story.  Superbly conducted by Andrea Licata and with a top-rate orchestra and chorus you have a classy opera on a winter’s night in a classic building. 

Svetla Vassileva (Leonora) was top class with several 'tricks' including pianissimo broadening to forte with very long breath control.  Still not a unique voice but very pleasant quality and pin-point control and accuracy.  Fine looking woman with good acting abilities. 

Riccardo Massi (Don Alvaro) like so many tenors somewhat awkward.   Yet a gifted top, despite some ugliness in the delivery at times.  The black eyes and a tall, lumbering frame made him look like someone from the Adams Family.  Hard to imagine him trying to look handsome as the eloping party in the opening scene in which he goofed with the gun and accidentally killed his potential father-in-law (this is opera, ladies and gentlemen). 

As Don Carlo di Calatrava was veteran baritone Jonathan Summers in excellent form despite turning 67 this year … he looks and sounds far younger … that's another sign of a 'pro' in any field. 

Giacomo Prestia (Padre Guardiano) marvellous basso with the rest.  Hard to imagine anyone doing this role any better. 

Same could be said of Ms Rinat Shaham (Preziosilla) who pulled out all the stops as obviously demanded by the director, and some vocal risks to boot.  She has an effective trill and a high extension which was used well on all but one occasion with a slightly clipped ?B flat … but no shame in that for a mezzo.  It is still surprising that an Australian could not have been available of the same or even better calibre. 

Warwick Fyfe was simply excellent dramatically and vocally with his booming almost blustering voice as the impatient, intolerant and irreverent monk Melitone. 

Despite enjoying this opera at the time, I am now feeling that we were lacking a star to raise the rest to an even higher level.  The singers were all very good but somehow there was a focus on accuracy, high notes, trills, etc but lacking a particular unique characteristic or rare beauty of voice, things which cannot be learned.  Someone with the accuracy, technique, projection ability PLUS distinct vocal beauty is automatically a star in my book … we have not heard a real star in Sydney for a number of years now (is there an exception to this I wonder?).  Indeed such singers are quickly snapped up by the great opera houses and become the talk of the field, recordings, media darlings and sometimes mythology - Melba farewells and ‘muck-singing’ for example. 

When people look back at the decades of the 20th century there were half a dozen in each who fitted the bill so such 'stardom' is a pretty rare commodity.  In the 1980s and 90s the Australian audience enjoyed Sutherland routinely but also heard Pavarotti, Leona Mitchell, Johan Botha, Lisa Connell, Sumi Jo, Regina Schorg, Donald McIntyre, Vinson Cole, Marilyn Zschau, Eva Marton, Carol Vaness, Peter Glossop, Sherril Milnes, Huguette Tourangeau, Marilyn Horne (concert only), Kiri Te Kanawa, Fiorenza Cossotto, Pilar Loringar, Regina Resnik and Angelo Marenzi (a very incomplete list). 

Like Tiger Woods with golf and all the other names one associates with the top people in tennis, athletics, football, etc.  Star quality is easy to recognise when it comes along, even by people who don't know much about ballet/sport/music, etc.  As a boy I once saw Richie Benaud bat from the hill at the SCG and it was entrancing … and I’m no cricket fan.  Part of the enjoyment is observing the reactions of other members of the audience, and likewise, bad vibes from neighbours can spoil what might otherwise be a perfectly creditable ‘performance’.  Most of all, stars pull in a new audience and Pavarotti was probably the most important star of our era to popularise opera as Callas, Caruso, Melba and other ‘immortals’ did in the past. 

Am I expecting too much?  Of course I am.  I want a bigger hall with better acoustics.  I want bigger orchestra plus STAR quality opera singers.  And a free car park.

In the intermissions the administrative staff members all looked very pleased with themselves.  Yet it is their company which has now replaced over two months of traditional opera with musical comedy while also failing to produce many if any true international stars in their seasons until very recently.  The subscriber base has been contracting due to so much repetition of poor quality opera so now the company do not need to schedule so many opera performances ... it is a repeating cycle and one wonders where it will end. 

Looking forward to a new Tosca next week.  But I looked forward to the last two productions, too.  \
 

Notes by Andrew Byrne ..