Tag Archives: Javier Arrey

The Washington Concert Opera at 30

Angela Meade, Vivica Genaux, Michele Angelini, Anthony Walker, Javier Arrey and Jonas Hacker at the Washington Concert Opera 30th Anniversary Concert. Photo by Don Lassell.

Angela Meade, Vivica Genaux, Michele Angelini, Antony Walker, Javier Arrey and Jonas Hacker at the Washington Concert Opera 30th Anniversary Concert. Photo by Don Lassell.

               The 30th anniversary concert of the Washington Concert Opera was delightful, from beginning to end. It gave substantial time in the spotlight to a vivid young bel canto tenor, Michele Angelini, and a powerful soprano with a large and enthusiastic following, Angela Meade. Also on the roster for this two-hour program of Rossini, Donizetti and Bellini: mezzo-soprano Vivica Genaux, baritone Javier Arrey and the young tenor Jonas Hacker. The WCO’s music director, Antony Walker, now in his 15th season, conducted.

               Seasons like the current on in Washington make you appreciate the essential niche WCO fills. After a world-class Ring Cycle last year, the Washington National Opera isn’t offering much for serious opera lovers this time around. Its programming reflects the larger trend in the opera world, which increasingly throws its energies into the production of new works rather than the loving revival of rarities. New work is all to the good, but the dwindling of interesting historical repertoire is sad. The future, it seems, may consist of world premieres, plus “Carmen,” “Boheme” and “Traviata.”

               Sunday night’s selections were well chosen. The overture, from Rossini’s “La gazza ladra,” was scrappy but vigorous, and thank heavens it wasn’t the overture from “La forza del destino,” which has become seemingly obligatory at such events. Angelini’s opening aria, “Ah! Mes amis,” with its infamous high C’s was effortless, the high notes light and chirpy, but clear and on pitch and without a hint of strain. Angelini also made a strong case for hearing more of Boieldieu’s “La dame blanche.” I remember discovering it years ago on a recording with Rockwell Blake in the role of Georges, but not much liking the timbre Blake brought to the part. Angelini, however, makes Georges’ aria “Viens, gentille dame” a virtuoso showpiece of legato connections, sung with a comfortable, fluent, supported sound; and his pianissimo reprise of the melody at the end was dramatically spot on. Angelini also sang the single most impressive aria of the evening, “Intesi, ah! tutto intesi” from Rossini’s “Il turco in Italia.” He was thoroughly warmed up, entirely at ease, his coloratura fleet and flawless, and Rossini’s grand superfluity of notes were all perfectly packaged rhythmically and expressively.

               Angela Meade added vocal heft in the Act II Finale from Bellini’s “Il Pirata” and selections from Donizetti’s “Lucrezia Borgia,” including the finale with Angelini as her hapless, horrified son. Meade’s bel canto is a different order of singing, weightier, vocally rounder, and more dependent on the later 19th century vocal thrills (floated top notes, sudden changes in dynamics, and the occasional display of oceanic force) than the coloratura bravura of Rossini. I found her strongest in the concluding scene from “Lucrezia Borgia,” perhaps because she created more of a sense of character, and tailored her singing, both musically and dramatically, to the presence of Angelini (and his performance in this scene was also one of his best moments of the evening, adding a greater sense of his full portfolio of stage skills).

               Vivica Genaux sang an impressive aria from Rossini’s “Maometto II” (“Non temer: d’un basso affetto”), with low tones that remind one of the particularly masculine, slightly nasal sound of Marilyn Horne in Rossini pants roles. Genaux was strongest in another duet from “Lucrezia Borgia,” again with Angelini.

                The discovery of the evening was the young tenor Jonas Hacker, currently studying in Philadelphia. Hacker sang the tenor line of the beloved male duet from Bizet’s “Les pecheurs de perles” with Arrey taking the baritone part. This is a chestnut, but was included on a bel canto program because it was sung at the first WCO performance of the Bizet opera in 1987. Hacker has an attractive voice, a steady technique and a flair for the simple elegant line. He began with an expository, narrative approach, and the duet unfolded as effective story telling rather than mere melodic indulgence. It was a short introduction to a young singer, but one that inspires hope of great things.

 

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Tristan und Isolde at the WNO

After all the drama surrounding Deborah Voigt’s withdrawal as Isolde in the Washington National Opera’s opening production, “Tristan und Isolde,” the company came back with a solidly cast production that was enormously affecting. In rehearsals, it seems Voigt found the role too much for the current state of her voice and dropped out over Labor Day weekend. She spoke candidly about the decision with my colleague, Anne Midgette, in an article many of us found a model for how to handle a tough, potentially humiliating situation: straight on, with grace and humor. She left her fans with happy memories of a tough, honest and no-nonsense artist.

The Swedish soprano Irene Theorin replaced Voigt, and while it might have been disappointing to anyone who compared Theorin with memories of Voigt in her prime, it was nonetheless an entirely creditable, well-acted and emotionally engaged performance. Theorin has two voices: There is a lovely, intimate instrument, small and flexible, with golden hues; and a larger, more powerful sound that gets turned on from time to time when she needs the power. This second voice, used judiciously, allows the singer to negotiate all the Wagnerian essentials, but it doesn’t have a lot of color or character, and sometimes it seems a bit disconnected from the smaller instrument, as if the two voices aren’t quite on the same continuum. But it’s not shrill, or forced either, and it certainly cuts through the orchestra at all the requisite moments. Theorin is clearly comfortable with this role, especially its psychological progression from manic, wounded girl to besotted lover to mature, determined, self-controlled woman. The Liebestod, the extended final aria in which Isolde follows Tristan into death through sheer force of will, wasn’t a sumptuous, overflowing sonic spectacle, but it was attentive to the drama and the text, and when she finished, Theorin simply lay down with dignity and shut down her life force. Philosophically, the “love-death” is Wagnerian pseudo-psychology at its most odious, but Theorin made it believable, without succumbing to melodrama.

Ian Storey sang Tristan, not with a ringing, heroic tenor, but with a voice more than equal to the part and, like Theorin, more powerful in the intimate moments than the grand ones. And yet, again like Theorin, the sound is never unpleasant or strained. He managed to make the Act III monologue, a rumination on desire, will and death, gripping in its philosophical intensity, and his ghastly decision to allow his wounds to flow and bleed out his own life was a horrifying moment of pure Wagnerian insanity.

Conductor Philippe Auguin and the orchestra deserve special comment. They were the real stars of the afternoon. I’m not sure I’ve heard the opera orchestra play this well: With a full-blooded, blended sound and many spectacular individual solos, especially from the cor anglais and bass clarinet. The tempos were fast but not manic, and the pacing–the push and pull of Wagnerian time–was natural and the string sound deliciously muscular.

The Chilean baritone, Javier Arrey, whom I admired at this summer’s Castleton Festival (as Iago), sang the small role of Melot, but sang it so clearly, cleanly and with such a robust sound it made a strong favorable impression. And Yuri Gorodetski as both the Act I sailor and the Act III shepherd was a delight.

The production is simple, with a single basic set (credited, mysteriously, not to a designer but simply “Opera Australia”) serving for all three acts. Diaphanous curtains frame the action, which takes place on a transparent deck suspended from cables that suggest a ship’s rigging. The lighting is blunt and colorful, following the cues of Wagner’s text, so obsessed with the portentous references to night and day. Neil Armfield’s direction was smart and efficient, though a couple of key moments, especially the discovery of the lovers by King Mark and his minions in Act II, were anti-climactic.

Quibbles aside, the opera worked both musically and dramatically. “Tristan,” is a long show, and it can be a dreadfully static one. But Auguin, and an intelligent cast, made it feel radical, intense and desperate. 

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The Castleton Festival

I wrote a piece about the rural Virginia-based Castleton Festival for Opera News, which appeared in the magazine’s June issue. It’s now online. I returned from a month of travel to catch the last of the Castleton performances, a scrappy and often exciting production of Verdi’s Otello, with soprano Joyce El-Khoury in the role of Desdemona. El-Khoury built through the afternoon, to a powerful and nuanced characterization in the last act, with wonderful pianissimos and delicate but fully supported singing. As Iago, Javier Arrey was another standout. Arrey looks like butter wouldn’t melt in his mouth, and he occasionally struggled to project genuine malevolence. But the singing was gorgeous, and the Credo filled with creepy twists and turns of spite, cynicism and loathing. All the optimism in my Opera News piece seems fully justified based on last week’s final performance of the season.

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