At last a new Lohengrin at the Met!

Wagner’s Lohengrin is at the end of Part One of his creative development, the others being, in reverse order: Tannhäuser and Der fliegende Holländer, arguably even Rienzi. This is not to say that his later operas (the four Ring operas and the three music dramas, Tristan und Isolde, Die Meistersinger, and Parsifal) were so radically different, but they, in their own ways, are departures from Part One.

The Met’s new Lohengrin, thank goodness, erases memories of the static Robert Wilson staging. At least the vocalists of that production were excellent.* But this new Francois Girard production also puts significant demands on the singers and orchestra, and though there are a lot of comings and goings throughout, as dictated by the libretto, once in place the main characters and the chorus stand around or (in this production) sit around or they shift positions for no apparent reason.** They also flash colored robes…and then there is the great circular open roof, which give us a background view of the planets and stars. Out of this structure, to shimmering music toward the end of Act I, Lohengrin appears and descends into the real world at just the right moment when poor Elsa’s luck seems to have run out. The good news is that structure prevents the sound from being lost in the rafters; it sometimes changes elevation.***

Piotr Beczala is Lohengrin in this new production

Lohengrin, over the many years, tends to get a strong cast at the Met.**** Same here. With Yannick Nézet-Séguin at the helm, Wagner’s music flowed and ebbed as written. He even changed shirts for each act, depending on the ‘color’ of the music. The large orchestra, large chorus and well trained Wagnerian singers fill the auditorium, such that it was probably heard outside on the plaza.

At the opera’s beginning, the stage is dark. The King’s Herald, boldly sung by Brian Mulligan, announces the entrance of King Heinrich, who is recruiting soldiers for a coming war against the Hungarians. As King Heinrich, Günther Groissböck sings with expression, concern, and dignity. Friedrich von Telramund was sung by Thomas Hall, taking over for an indisposed Evgeny Nikitin. Hall, too, was well represented vocally and dramatically.

Elsa (Tamara Wilson) and her bridesmaids in Act II. Note the large opening through which you can see the moons.

Enter Elsa von Brabant, sung by Tamara Wilson. Though Elsa seems like a wallflower, she inadvertently is at the center of the drama. Before the opera starts, the Duke, Elsa’s father, charges Telramund to care for Elsa and her brother Gottfried until the boy comes of age. Telramund also has a crush on Elsa, but she refuses him. Then Gottfried mysteriously disappears, Telramund bonds with Ortrud, a pagan sorceress, who seeks to reestablish pagan rule in the land. In Act I Elsa is accused of murdering Gottfried and having a secret lover in mind for the throne. Wilson plays an inwardly agitated Elsa, whose love and trust for Lohengrin is undermined by Ortrud’s innuendoes. Her grief at Lohengrin’s departure is barely lifted by the magical return of Gottfried.

Lohengrin reveals his Horn, Ring and Sword to Elsa as he prepares to depart.

Piotr Beczala’s first Lohengrin at the Met was a triumph in every respect. Trim and confident, his entrance at the end of Act I is vocally both magical and calming to Elsa; ditto his appearance at the end of Act II: amidst the gathered crowd for their wedding, he protects Elsa from Ortrud’s false claims. But it is in Act III that he really gets a chance to show what he can do vocally and dramatically, not only in the Bridal Chamber, but also with the whole assembled cast (minus Telramund who also is there, but is dead). Bravo!!!

Ortrud (Christine Goerke) is a negative force in their universe!

The downright evil one is Ortrud, sung by Christine Goerke. Though mostly quiet in Act I, she dominates the first third of Act II, as she begs forgiveness from Elsa, who leads her into to the castle. Goerke has one of those voices that you’ll not soon forget, and her stage presence is 100%. All in all, it was a very strong cast of artists and musicians.

The Nobelmen of Brabant are Errin Duane Brooks, Thomas Capobianco, Anthony Clark Evans, and Stefan Egerstrom; the Pages are Catherine MiEun Choi-Steckmeyer, Andrea Coleman, Alexa Jarvis, and Anne Nonnemacher; Andrew Spriggs is Duke Gottfried, rescued by Lohengrin’s magic.

The vast chorus, under Donald Palumbo, was well trained and directed by at least four Assistants. Given the complexity of their coordinated movement and placements, they were rarely late or out of sync, more so in the first afternoon, not at all in the second afternoon.

As said above, the new production of Lohengrin is by Francois Girard; Tim Yip designed the Sets and Costumes; David Finn was the Lighting Designer; Peter Flaherty was the Projection Designer; Serge Bennathan was Choreographer; and Serve Lamothe was the Dramaturg.

Photos: Marty Sohl.

Lohengrin performance dates: Sunday, March 5, 2023 and Saturday, March 18, 2023.

*That recording is a CD in the collection of James Levine Celebrating 40 Years at the Met. It’s the broadcast performance of Robert Wilson’s staging of Lohengrin from the Met on March 21, 1998, staring Eric Halfvarson, Deborah Voigt, Ben Heppner and Deborah Polaski. The good news is that you can’t see it. Also included are performances of Lohengrin from past broadcasts: Domingo, Kollo, Lorengar, Marton, and Tomowa-Sintow.

** Sitting is a good idea! My second performance of Lohengrin was during the opening season of the Metropolitan Opera at Lincoln Center, 1966/1967, March 23rd. The super cast was Leonie Rysanek, Ludmila Dvořáková, Sándor Kónya, William Dooley, Klobucar conducting. It was a new production in the (then) Bayreuth style, meaning the chorus stood still on raised planks at least for Act I. One of the chorus members fainted from the heat and the standing. She was removed by two chorus members.

***Constant, this: Some aspects of Francois Girard’s production of Parsifal at the Met in 2013 raised various eyebrows, particularly a splashy Act II, but his gathering storm clouds in Act I were wonderful; his Der fliegende Holländer, which was new right before Covid in 2020 shut us down, also has mixed solutions for this problem. To be fair, almost any grand opera from this period (and before) is relatively static. Bellini’s Norma, one of Wagner’s favorite operas, is a case in point.

****My first Lohengrin was at the Old Met. The cast was Regine Crespin, Nell Rankin, Sándor Kónya, William Cassel, Rosenstock conducting. It was my 4th opera, but also my first solo trip to the Met. Those were the days, my friends!

If you missed this Lohengrin live or in HD, know that PBS often broadcasts the HDs in the summer months. Check your local listings!

More to come! OM

Umberto Giordano's Fedora returns to the Met after a long absence

Giordano’s Fedora, which premiered in Milan in 1898, is based on a play by Victorien Sardou. Sardou was a favorite source of operatic material for composers near the end of the 19th century, including Puccini (Tosca), Johann Strauss (A Night in Venice), a second for Giordano (Madame Sans-Gene), and many more. The Metropolitan Opera premiered Fedora in 1906 with Caruso, Scotti, and the lovely Lina Cavalieri, it was performed later in 1923 to 1926, but not revived again until 1996 for Mirella Freni and Placido Domingo.

The story briefly: the very wealthy Princess Fedora Romazoff will marry Count Vladimiro Andrejevich. She awaits his return from his club. The French diplomat De Siriex enters with several police and the body of Vladimiro, who has been shot and likely to die. Of course, Fedora is upset. The porter gradually remembers the name of the stranger he admitted to the Count’s club: Loris Ipanoff. A warrant for his arrest is issued, but Ipanoff has disappeared.

Fedora, portrayed by Sonya Yoncheva, and Loris Ipanoff, portrayed by Piotr Beczala, at the party in Paris

Months later, we’re at Fedora’s mansion in Paris. She enters arm-in-arm with Ipanoff, apparently happy to in contact, but, in an aside to De Siriex, she states that she is looking for information pointing to Ipanoff as her husband-to-be’s killer. The festivities continue. In a quiet moment, Ipanoff confesses to Fedora that he killed Vladimiro. Fedora passes that information to the authorities. When Ipanoff returns, Fedora accuses him of murder. But he responds that Vladimiro was having an affair with his wife. Caught in bed with her, Vladimiro shoots at Ipanoff, who shoots back in self-defense, mortally wounding Vladimiro.

Several weeks later in the Swiss Alps, Fedora and Ipanoff are in love. When alone with her, De Siriex revels that, based on a letter Fedora had sent, Count Jariskin arrested Ipanoff’s brother. But the prisons flooded during the spring rain. The brother drowns in his cell. On learning of his death, Ipanoff’s mother dies of a stroke. These are not shown in the opera.

Though happy that he has been pardoned by the Tsar, Ipanoff is concerned that he hasn’t heard from his brother and mother. He is crushed by the news of their deaths. A second letter recovered reveals that a woman, who had been at that party in Paris, is coming to Switzerland. Ipanoff eventually puts two and two together: Fedora is that woman! She drinks poison, asking his forgiveness, and dies.

There are a lot of reasons to like Fedora, not the least of which is Giordano’s music. It is a mix of modern sounds (opera, early 1900s) and the moods of the various settings. There is a piano player, entertaining the party in the background of the Paris scene; there is a peasant boy singing unseen in the background of the Swiss Alps. Also, shifts in volume are nuanced, contributing to an endless flow of changing music. This production under the supervision of David McVicar, includes Charles Edward (Set Design), Brigitte Reiffenstuel (Costume Design), Adam Silverman (Lighting Design) and Sara Erde (Movement Director). The interactions between the players are carefully rehearsed.

As Fedora, Sonya Yoncheva gives a stellar performance. The shifting emotions Fedora goes through are extreme, with the death of her fiancé, the success of getting Loris Ipanoff to confess that he killed him, only to find out the Ipanoff did so in self-defense. All this time she is falling in love with him! Things seem carefree and good with Fedora and Loris in the Alps, until, sadly, she learns about the fatal consequences to letters she wrote.

Piotr Beczala as Loris comforts Sonja Yancheva as Fedora in her final moments.

Piotr Beczala as Loris is wonderful. His voice has a richness to it, his Italian is excellent, and goodness knows he is a handsome gentleman. As the events piled on, Beczala met them in great form. One looks forward to his Lohengrin later in this season.

Lucas Meachem as De Siriex, Rosa Feola as Countess Olga Sukarev, Sonya Yoncheva as Fedora relaxing in the Alps

Other principles include Lucas Meachem as Giovanni De Siriex, a French Diplomat, who was one of the first to arrive at the scene of the crime and who remained in touch for Fedora’s safety. Rosa Feola is Countess Olga Sukarey, prominent in the party scene and the Swiss Alps act. She broke off her relationship with the pianist after the party. Now she is bored, wondering what to do…all entertaining.

The large cast for Scenes One and Two includes Tony Stevenson as Desire, Rocky Eugenio Sellers as Nicola, Brian Yu as Sergio, Laura Krumm as Dimitri, Lucia Lucas as Gretch, Paul Corona as Loreck, Jeongcheol Cha as Cirillo, Ross Benoliel as Michele, Scott Scully as Baron Rouvel, Richard Bernstein as Dr. Boroff, Luka Zylick as a Peasant Boy, and Bryan Wagorn as Boleslao Lazinski (the pianist) in the background of Scene Two. The interactions between these characters, especially in Scene One, are well executed. The set by Charles Edwards allows us to see the back room where Vladimiro lies dying, as well as the commotion outside in the larger salon of Vladimiro’s apartment.

The Met orchestra was conducted by Marco Armiliato, a specialist in this repertoire.

Performance date: Saturday, January 14, 2023, Matinee.

Photos: Ken Howard

More to come. All the best, OM

Met's Medea is terrifying, wonderfully so...

Luigi Cherubini’s Médée premiered in Paris in 1797 after two other thrillers, Lodoïska (1791) and Éliza (1794). Each combines grandeur and horror, big events and big demands on the production crew, musicians, and cast. Medea (in Italian) is a welcome addition to the Met’s repertoire.

Apart from their sheer size, these three operas place tremendous demands on the cast. In the case of the title character Medea it’s a combination of expression, volume, and endurance.

The great Maria Callas resurrected Medea at La Scala in 1953, recorded it on EMI in 1957, then gave performances in Dallas, London, and back to La Scala in 1961. The title role suited her voice and temperament like a glove. As the story goes, Callas was in Dallas for her first Medea in America. She was about to go on stage when a telegram arrived from Rudolf Bing dismissing her from the from the Met’s 1958-1959 season. The news certainly fired her up, as captured on recording. The great Jon Vickers was Jason.

Back to today, Medea has good reason to be really angry at Giasone. She, known locally as a sorceress, helps him find the Golden Fleece, takes swift care of anyone threatening Giasone, and she marries him and soon presents him with two sons.

But, for all that, Giasone abandons Medea for Glauce, the daughter of King Creonte. Needless to say, Medea is not happy. At her entrance, while preparations for Glauce’s wedding to Giasone, we know Medea is not happy. The guards threaten her, but she pleads to remain for just one day…and also to be reunited with her two sons. Medea poisons a robe to be delivered to Glauce and also plans to murder the children. Glauce dies, Medea enters the temple where the boys are sequestered…well, you’ll have to see it.

Sondra Radvanovsky as Medea

Soprano Sondra Radvanovsky has a habit of rising above each challenge: Norma, Donizetti’s Three Queens to name four. Her Medea is no different. In addition to the demands of singing the part, when she is not on the floor, she is ranting and raving; when she is quiet, she is plotting evil; she waivers at times, but her vengeance and self-immolation are her goals. Brava Sondra!!!

Janai Brugger as Glauce and Matthew Polenzani as Giasone fear Medea’s wrath

As Giasone Matthew Polenzani is a man torn between love for Glauce and fear of Medea. Polenzani sings this heroic role with ease and grace; his emotions and reactions are clearly portrayed. Janai Brugger is in command of the role of Glauce, communicating her joy at the coming wedding to Giasone and fear of the dangerous Medea. Michele Pertusi is a wise Creonte, father of Glauce.

Ekaterina Gubanova is Medea’s companion, who, in the second act (it’s actually Act Three), delivers the poisoned gifts to Glauce and brings the two sons to Medea. She pleads with Medea, saying that poisoning Glauce is enough to get revenge. At first Medea concedes, but as the mob approaches…

Giasone tries to reason with Medea…

Christopher Job is the leader of the King’s Guards; two handmaidens are Brittany Renee and Sarah Larsen; Medea’s children are Axel Newville and Magnus Newville.

Conductor Carlo Rizzi takes full advantage of this great score, making for a dramatic evening all around.

We are familiar with David McVicar’s productions through their grandeur, color and details. This Medea was enhanced by a large mirror behind the stage, which changed projections as the drama required. Also large moving walls in front allowed scene changes behind without delay. Doey Lüthi designed the costumes; Paule Constable designed the lighting; S. Katy Tucker designed the very effective projections; Jo Meredith is the Movement Director.

Acts One and Two comprise the first Act; Act Three (as written) is the second Act. In other words, there is only one intermission. All in all, the production works.

Performance date: Saturday evening, October 8, 2022.

Photos: Marty Sohl, Met Opera.

By the way, there is a short excerpt of Callas and Vickers in Medea in Dallas…just saying…

Speaking for myself, I’m glad to be back!

OM