Opera Review: Deviled Eggs

The Washington National Opera's Faust goes directly to Hell.
by Paul J. Pelkonen

Hellbound: Raymond Aceto as Méphistophélès in Faust.
Photo by Scott Suchman for the Washington National Opera.

In the last hundred years, Charles Gounod's Faust has fallen from the pinnacle of the repertory. Its descent has been rapid, almost as fast as that of its protagonist, a searching scholar who sells his soul to Satan in the opera's first act. Faust has fallen into irrelevance in this new century. Its stirring choruses, sweet harmonies and story of demonic love and angelic redemption seem quaint in this dark age. When fascists are defended in the media by the sitting President, and hatred lurks in the corridors of power, Faust just ain't scary anymore.

Concert Review: Everything Old is New Again

Conductor Ton Koopman gives a history lesson at the Kennedy Center.

by Paul J. Pelkonen

Conductor, scholar and multi-instrumentalist Ton Koopman led the National Symphony Orchestra
this week at the Kennedy Center. Photo © 2017 Berlin Philharmonic for the digital concert hall.

It’s not every week that a symphony orchestra springs a trio of premieres on its subscription audience, but that's what happened on Friday morning at the Kennedy Center in Washington D.C. The ensemble was the National Symphony Orchestra and the conductor of said concerts was Ton Koopman. The Amsterdam-based organist, harpsichordist and scholar remains a legend in the field of period and historically informed performance. 

Concert Review: The Man of the Hour

Ösmo Vänskä leads the National Symphony Orchestra.
by Paul J. Pelkonen

Conductor Ösmo Vänskä in action.
Photo by Kyndall Harkness for vita.mn

The 2013-2014 season has offered few opportunities for East Coast listeners to hear Finnish conductor Ösmo Vänskä work his magic with the symphonies of his countryman Jean Sibelius. On Saturday evening, one of those opportunities presented itself as Mr. Vänskä led the National Symphony Orchestra in the second of two subscription concerts at the Kennedy Center in Washington, DC.

Opera Review: The Relief Princess

Iréne Theorin saves WNO Tristan und Isolde.
by Paul J. Pelkonen

Iréne Theorin is Isolde in Washington National Opera's Tristan und Isolde.
Photo by Scott Suchman © 2013 Washington National Opera/The Kennedy Center.

For her first production as artistic director of the Washington National Opera, Francesca Zambello chose  Wagner's Tristan und Isolde. One of Wagner's most abstract and ambitious works, this tale of doomed romance  realized at the Kennedy Center in a handsome production imported from Opera Australia. This reviewer attended the Sept. 24 performance, the last of this run to feature the "first" cast.

Isolde Dumps Tristan

Deborah Voight withdraws from WNO Wagner run.
by Paul J. Pelkonen

To sail no more: Deborah Voigt may have sung her last Tristan und Isolde.
Photo by Ken Howard © 2007 The Metropolitan Opera.

One week before the premiere of its new production of Tristan und Isolde, the Washington National Opera had to search for a replacement soprano.

According to a story by Anne Midgette in today's Washington Post, soprano Deborah Voigt has bowed out of the WNO's season-opening run of the Wagner opera. Ms. Midgette also reported that the soprano is considering retiring the role of Isolde (the fiery Irish princess who falls hard for a Cornish knight) from her repertory.

Concert Review: His Favorite Instrument

The National Symphony Orchestra closes out Spring For Music.
by Paul J. Pelkonen

Dmitri Shostakovich (left) and his good friend and interpreter Mstislav Rostropovich.

The National Symphony Orchestra has called the Kennedy Center in Washington D.C. home since that venue opened in 1971. In 1974, the NSO gained its most famous music director, when the Russian conductor and cellist Mstislav Rostropovich took over the position shortly after his defection from the former Soviet Union. He held that post for 23 years, stepping down in 1997 to resume an international performing career.

Opera Review: The Diva Has Landed

Angela Meade brings Norma to Washington.
by Paul J. Pelkonen

Dolora Zajick (left) and Angela Meade in the Washington National Opera's
new production of Vincenzo Bellini's Norma.
Photo by Scott Suchman © 2013 Washington National Opera/The Kennedy Center

Soprano Angela Meade staked her claim in the bel canto repertory this month when she opened a new production of that most elusive of operas, Bellini's Norma at the Washington National Opera. Ms. Meade has drawn much attention in the press (including on this blog) as a throwback to the old-school sopranos who helped revive interest in this repertory in the last century. At Tuesday night's performance the question remained: Did she really have what it took to take on the role of Bellini's high priestess?

Opera Review: The Ways and Means to New Orleans

Patrica Racette sparkles in Washington's Manon Lescaut.
by Paul J. Pelkonen

Her just deserts: Patricia Racette in the last scene of Manon Lescaut.
Photo by Scott Suchman © 2013 Washington National Opera/The Kennedy Center.

Mention the name Patricia Racette around opera lovers and you'll get a knowing smile. The New Hampshire-bred diva may enjoy have the same "instant" name recognition as other artists at her current level, but she is known for her smoky, spinto voice, committed acting and regal stage presence. All those qualities were on display Monday night at the Kennedy Center in Washington, DC, where Ms. Racette is singing her first run in the title role of Puccini's Manon Lescaut.

2013-14 Preview: Washington National Opera

Wagner and Verdi centennials at the Kennedy Center.
by Paul J. Pelkonen

Whalers vs. capital: Jake Heggie's Moby-Dick (opening Feb. 22 2014)
highlight of the upcoming WNO season at the Kennedy Center. Image © JakeHeggie.com

With the Metropolitan Opera offering a Wagner-free 2013-14 schedule, it is left to opera companies in other cities to satisfy a yearning for music drama.  The Washington National Opera has stepped up. the company announced today that its first season under the stewardship of new Artistic Director Francesca Zambello will open Sept.15 with an imported production of Tristan und Isolde.

Opera Review: A Catalogue of Crime

Ildar Abdrazakov dodges bullets in WNO's Don Giovanni.
by Paul J. Pelkonen

Super stud: Ildar Abdrazakov grapples with unearthly forces at the climax of Don Giovanni.
Photo © 2012 Washington National Opera/The Kennedy Center.

The Washington National Opera's current revival of John Pascoe's production of Mozart's Don Giovanni features the return of bass Ildar Abdrazakov in the title role. It is a towering portrayal, and not just because of the big Russian's sturdy frame.