Cher Public

Call her madame

Eaglen“Singers slated for next season include… Jane Eaglen (Mother Goose in The Rake’s Progress).” [Boston Globe]

  • JohninSeattle

    I love Jane. Not a fan of her usual repertoire but I LOVE JANE. Ring? Not a fan. Ring with Jane? FAN!

  • Satisfied

    Notably, the season includes an east coast visit of Bieito’s Carmen.

  • Strange that Ms Eaglan’s appearance becomes the lead story on here when I thought the Bieito Carmen would have had more resonance but ….okay…

    • DonCarloFanatic

      Isn’t the Bieito Carmen the same one he did several years ago that came over here in an HD showing from Opera in Cinema? I wasn’t impressed. Not wild enough to be shocking. Too much religious symbolism. World-weary Carmen kind of walks through the whole thing.

      • Chanterelle

        That Carmen has been everywhere, including last winter in Oslo. Stylized but far from shocking.

    • steveac10

      Especially since she’s going to be there in a comprimario role that could charitably be described as a “largish” bit part. Most companies don’t include Mother Goose casting in the season announcement -- much less make it an issue.

      • tiger1

        And that is, Steve, very charitable. I guess Mother Goose sings in total between one and two minutes. But her stage time is a bit longer. When I sang Trulove at a student production in Cambridge back in 1998, Andrew Kennedy (who later made a name for himself) sang both Sellem and Mother Goose, the latter in a very tasteful low cut dress with leopard spots.

    • laddie

      It would have to be Bieito for me to stomach another Carmen. Yaaaaasssss.

  • Quanto Painy Fakor

    This is huge news concerning the return of opera to the theater that Sarah Caldwell tried so hard (an in vain) to reopen.

    • pirelli

      I hear you, and this is something I also have wanted to happen. But let’s relax -- it’s only one production in that venue. There’s no guarantee yet of anything beyond that. But we can hope…

  • -Ed.

    Had no idea Boston is so lacking in opera. I need to get out more.

    • Tory Adore

      Check this out- lucky Beantown-

      SEP 29 2016 THURSDAY, 7:00 PM
      Andris Nelsons conducts Strauss’ Der Rosenkavalier featuring soprano Renée Fleming
      Boston Symphony Orchestra
      Boston Symphony Hall Boston MA

      Artist & Program Information
      Andris Nelsons, conductor
      Renée Fleming, soprano (Marschallin)
      Erin Morley, soprano (Sophie)
      Susan Graham, mezzo-soprano (Octavian)
      Franz Hawlata, bass (Baron Ochs)
      Alan Opie, (Faninal)
      Irmgard Vilsmaier, soprano (Marianne)
      Michelle Trainor, soprano (Milliner)
      Jane Henschel, mezzo-soprano (Annina)
      Graham Clark, tenor (Valzacchi)
      Stephen Costello, tenor (Italian Singer)
      David Cangelosi, tenor (Marschallin’s Majordomo)
      Neal Ferreira, tenor (Animal Seller)
      John McVeigh, tenor (Landlord)
      David Kravitz, baritone (Notary)
      David Cushing, bass (Police Officer)
      Tanglewood Festival Chorus
      Children’s Chorus

      STRAUSS Der Rosenkavalier

      Repeats again that Saturday night (October 1)

  • Don_Dano

    The 2016/2017 season in US opera houses has been making me think I should broaden what it would take to get me on an airplane. The Stravinsky, in the land of my youth, could get me to the northeast a month earlier than I had been planning.

  • Krunoslav

    And GREEK! Can THE SILVER TASSIE be far behind???

    • armerjacquino

      They should be so lucky. THE SILVER TASSIE is a wonderful opera.

      • Krunoslav

        Cheers!

        http://tinyurl.com/c4cwxcz

        Not sure even in Boston that European football and the other specifics of O’Casey’s (and Holden’s) evocation of Irish and English referents would be widely comprehensible to audiences.

        • armerjacquino

          Why you’re so proud that your sneering at an excellent opera should lead someone else to defend it, I have no idea, but it seems quite a sterile little game.

          Your other point is unarguable, of course. That’s why there aren’t any operas about any cultures other than the culture of the opera house concerned.

  • ipomoea

    Opera in Boston??? Not “so lacking”!

    Check out:

    http://operainboston.blogspot.com/

  • Camille

    Speaking of opera in Boston, I have been awaiting, ahem, with baited breath for a report of the Werther, which has just transpired. I did a lot of grave digging about the entire sensational discovery of some additional music in the composer’s MS score, but failed to report back as it seemed of no interest to anyone.

    I was wondering if anyone had heard the music, if there is a recording of the performance, etc. In any event, bravo to Maestro Angus and his assistant, cannot recall his name, for doing due diligence. It is a beautiful two pages and a bit!!

    • Will

      The Werther turned out to be one of BLO’s best productions, one that placed Werther on stage most of the time, both living and observing his life dilemma unfold. Moving (both physically and emotionally) projections gave us entree to his and Charlotte’s thoughts and memories. This last was very well done and not gimmicky or blatant in the least.

      Joseph Kaiser having dropped (or been dropped from) the engagement, a very fine tenor named Alex Richardson took over and did extremely well, strongest where the role is at its most demanding, and an excellent actor. Sandra Piques Eddy’s voice had both grown and become more velvety since her Boston Dorabellas and she was heartbreaking in her big scenes. John Hancock, an old NYCO stalwart was a fine, very bourgeois Albert and Rachele Gilmore a lovely Sophie. The orchestra did very well under Mr. Angus. The reviews were universally strong and appreciative of the new section in the final duet which provided a Tristanesque moment of excited rapture mixed with despair as a striking climax to the relationship of the lovers and to the opera.

      I will be at the Child Alice tomorrow night and am looking forward to it eagerly. Gil Rose and his Boston Modern Orchestra Project have been recording it this last week for release on the Orchestra’s own label

    • ipomoea

      Hi Camille,

      Here’s an excerpt from the Boston Lyric Opera WERTHER finale:

      https://youtu.be/dZxCTYWHPKA

      I’d love to hear this integrated into a perfrmance sung by a pair like Koch/Kaufmann or Garanca/Polenzani, with both the vocal and acting chops to pull it off.

      David Angus clearly loves this score and got sublime performances from the orchestra (special ovation to Kenneth Radnofsky on alto saxophone). Sandra Piques Eddy and Rachele Gilmore sang best and supporting singers were excellent.

      I hated the production — overactive projections, unoccupied and overturned chairs everywhere; mistranslanted, modernized supertitles. The flashback concept worked against the build-up of intensity that the score and story can work when handled with respect. I attended the two final performances — the second time I looked away and listened, and it was far better.

      • Camille

        Thanks so very much for this, so appreciated!

        And thanks as well for listing that opera website re Boston--you had done so previously and I could not find it anymore. This opera I had had intention of attending but, as it turned out, couldn’t. Depending on the repertoire I’ll make another attempt next season.

      • John L

        I didn’t think the production was so bad. I agree the background flashbacks of Charlotte (Sandra Piques Eddy) spinning around with too big of a smile was maybe a little unintentionally comical. But I agree with Will that having Werther sit on stage even in the scenes between Charlotte and her husband or Sophie was effective (Werther was *there* even though he was not there). I had no idea what the function of all those chairs was supposed to represent.

        I was a little disappointed that Joserph Kaiser wasn’t singing the title role, but I guess there was a reason as to why he was dropped. Alex Richardson was ok. He had some weird shifts between registers in the beginning. The night I went, the poor guy wasn’t applauded after the show stopper “Pourquoi me reveiller”, but I figured that was the Boston audience being reserved opera fans. Sandra Piques Eddy sang well throughout. Maybe she doesn’t have the weight in the lower register as much as others, but 99.8% of what she sung was good. Actually the only soloist who had an immediate applause was Rachele Gilmore as Sophie. If she’s transitioning more to soubrette roles, I think she will do it well for sure. The night I went I think there were some people trying to boo the poor guy playing Albert which I do not get (the booing of villains, he wasn’t even a villain!).

        I’m not familiar with Werther, but there were two moments I thought could have been the alternate vocal music that was discussed recently. I wasn’t sure because the first one followed the kiss but then the second one had Werther and Lotte singing together. It was a little bit of a bummer when SPE voice cracked at the very end.

  • Camille

    Also, and before I leave and/or forget this: a rare complete performance of Del Tredici’s Child Alice , featuring the soprano Courtenay Budd, will be given tomorrow at NEC Jordan Hall — it is free, but as it was funded by a grant (or something) the tickets have naturally sold out. There is a waiting list, for those intrepid souls in the area.

    For details please see:
    http://bmop.org/

  • mirywi

    Does anyone here have an opinion (well that’s a dumb question already) of which Bruennhilde, Catherine Foster or Nina Stemme, is better? I have the opportunity to hear the Ring in DC.

    • armerjacquino

      Stemme all the way would be my guess.

      • mirywi

        Advice taken. Thank you. I’ve never heard a cycle live before and I’m excited at the thought.

        • DonCarloFanatic

          Stemme was wonderful in this production at the SFO in 2011, so I decided to see somebody else in the role.

  • Walther von Holzhaufen

    Mirywi, I heard Foster sing a Ring cycle in Hamburg a couple of years ago. I found her singing unappealing and her interpretation of Brünhhilde unengaging. I’ve heard Stemme several times, including in San Francisco’s most recent Ring cycle. Stemme is vastly preferable to Foster.