Comments on: Star-crossed in Crescent City

ashtonjoliet commented

ashtonjoliet — Fri, 27 Nov 2009 03:31:07 +0000

As regards the comments on the history of opera in New Orleans during the 19th century, may I refer you to “Reception of Major Operatic Premieres in New Orleans During the 19th Century” the scholarly Master of Art’s Thesis by John A. Belsom who at the time was a student at Louisiana State University (LSU), Baton Rouge. Mr. Belsom is the recognized authority on 19th century opera in New Orleans, has written many scholarly articles on the subject, and has established the correct dates of US operatic premieres in New Orleans. These include: at least one dozen operas by Donizetti (Anna Bolena) a large number by Rossini, (including Semiramide), and Bellini’s Norma and I Puritani among others. Obviously, these were not by the current opera association which was established in 1943, but by earlier theaters, Theatre d’Orleans (1819-1859), and the French Opera House (1859-1919). Mr. Belsom is currently the archivist for the New Orleans Opera Association and is the author of the article to be found on the opera’s website.

wotanzeus commented

wotanzeus — Fri, 27 Nov 2009 02:37:58 +0000

I met most of the cast members at a party and have to say that Jason Bridges is one of the most handsome and charming singers I’ve ever met (Nathan Gunn comes to mind) and Matthew Worth is in the same company. Paul Groves, another sweetheart, was the pro of the performance; Jennifer Rivera was an absolute delight, and Raymond Aceto will always be welcome here.

It was a gorgeous production and the cast was pretty wonderful, but this is not an opera that I would seek out. No wonder I’d never seen it before, or if I have, I don’t remember it. In such an impoverished city, recently knocked to its knees, it is a miracle that opera survives at all. I can’t help but wonder if such wonderful artists are cutting us a deal of some sort. God love ‘em whether or not they are.

mrmyster commented

mrmyster — Fri, 27 Nov 2009 02:29:47 +0000

Vicar, I’ve always so much enjoyed Peter Grimes in the French translation!

The Vicar of John Wakefield commented

The Vicar of John Wakefield — Fri, 27 Nov 2009 01:55:54 +0000

Performances in French can scarce be counted as “real” OPERA!

squirrel commented

squirrel — Thu, 26 Nov 2009 02:48:27 +0000

Dizike’s “Opera in America: A Cultural HIstory” has what you are looking for.

According to that book, at a performance in the 1820s, one singer interpolated “The Hunters of Kentucky” during a performance (of Comte d’Ory? of La Gazza Ladra? la Dame Blanche? we’ll never know but all were in the repertoire) in a Davey Crockett outfit, to stomps and whoops from the audience made up of rivermen and frontiersmen, also in Davey Crockett outfits.

So I think we have some idea of what passed for “opera” in those days!

Alto commented

Alto — Thu, 26 Nov 2009 02:45:59 +0000

Why would a few years in a city in the 1970s make you doubt the quality of performances a hundred years and more before?

whiskey per tutti commented

whiskey per tutti — Thu, 26 Nov 2009 01:20:35 +0000

Having lived in New Orleans for much of the 1970s, I always found it remarkable that, aside from the few NO Opera performances and various recitals (Schwarzkopf, Caballe, Ludwig, Prey, and Horne recitals come to mind), there was no real vestige of the city’s 19th century operatic history. Makes me wonder what passed for an opera performance in those days. Do you know of a reliable history of the opera there? A Google search reveals nothing, but I would think there is at least a master’s thesis somewhere on it.

Alto commented

Alto — Wed, 25 Nov 2009 23:49:05 +0000

“Kraus and Malfitano do have a more youthful sound.”

A remarkable thing to say. And true, too.

No Expert commented

No Expert — Wed, 25 Nov 2009 21:14:20 +0000

They wrote that line about Anna Bolena a little awkwardly. I think they meant to say that it also received ts US premiere in New Orleans….along with many other works of Donizetti.

No Expert commented

No Expert — Wed, 25 Nov 2009 20:43:11 +0000

I know what you mean. I’m not always crazy about him in French repertoire. But I think he does a good job as Romeo. He sings passionately without forcing it and he pulls off the tender moments. Plus you have the chemistry between him and Gheorghiu. Kraus and Malfitano do have a more youthful sound. But…when it comes to opera I like the whole enchilada, so the Alagna version with the ballet is a tough competitor.

squirrel commented

squirrel — Wed, 25 Nov 2009 20:31:39 +0000

thanks noexpert

but you fail to mention some things our readers would enjoy knowing about New Orleans Opera, if they do not already, gave the world premieres Donizetti’s Anna Bolena (if NO Opera’s website is to be believed), and US premieres of Rossini’s Moise and Semiramide, among many other works.

CruzSF commented

CruzSF — Wed, 25 Nov 2009 20:30:12 +0000

And how is Mr. Alagna in that recording? I’m alternately warm & cold on him.

No Expert commented

No Expert — Wed, 25 Nov 2009 20:24:19 +0000

Hi, CruzSF, the recordings I am familiar with all have their pluses and minuses. My first was an Angel Records recording with Corelli and Freni. Great stuff and real sex appeal, but it doesn’t include Juliette’s big “courage” aria. I didn’t even know that existed until I heard Catherine Malfitano’s version. There is a good version with Domingo and Swenson. And Alagna and Gheorghiu did a version that even includes the almost-always-cut ballet.

CruzSF commented

CruzSF — Wed, 25 Nov 2009 19:48:41 +0000

My thanks, too, No Expert, for the review and for the history. I don’t know this opera (but I know of it, of course). I tend to buy/listen to recordings as they are announced for SF Opera productions, so I don’t know when I’d hear this if it weren’t for your review. I do respect your opinion so I’ll check it out.

Alto commented

Alto — Wed, 25 Nov 2009 18:55:09 +0000

Thanks, for that, No Expert. I have contended in print for the too-often-forgotten importance of Nouvelle-Orléans to opera. For one thing, it even gave opera an influence on the musical seedbed that produced jazz, since New Orleans was the one place in the world where great numbers of African Americans long attended the opera regularly — thus getting big doses of French opera. And what European city first took up jazz with a zeal that almost shamed Americans?