![]() ![]() Perhaps in our post-feminist 2016, not too many women would wait 20 years for the return of a lover! But then, when it comes to affairs of the heart, there are no rules. Vanessa naysayers love to point out how dated and contrived the story feels today. In truth, Vanessa is undeniably Gothic, and the SFO production by James Robinson and Tobias Hoheisel wouldn’t be out-of-place as a 1940’s film noir. Some have commented on Vanessa’s kinship to Miss Havisham in Great Expectations. The libretto is by Barber’s long-time partner Gian Carlo Menotti, who drew his inspiration from Isak Dinesen’s Seven Gothic Tales. Five years ago it was staged by Pacific Opera Victoria with Canadian soprano Wendy Nielsen. Kiri Te Kanawa had success with Vanessa, as had Carol Vaness. ![]() The piece has seen something of a revival in recent years. That said, its popularity waned, despite a revision by Barber to tighten and reduce it from four acts to three. I felt it didn’t touch the heart like Vanessa, which was rapturously received. Many years later, I did see a revival in Chicago with Catherine Malfitano. His Antony and Cleopatra opened the new Met in 1966 but to a disastrous reception. ![]() It’s fair to consider Vanessa Barber’s signature opera and his first success at the Met. The omission was remedied this summer with the SFO premiere of his acclaimed Vanessa. Curiously one name has been absent until now, Samuel Barber. And you can count on a healthy representation of American composers. I’ve seen many intriguing pieces over the years there some are even world premieres, among them Emmeline (Tobias Picker), Venus and Adonis (Henze), Madame Mao (Bright Sheng), A Dream Play (Lidholm), and Tea: A Mirror of Soul (Tan Dun). (Photo: Ken Howard) Letters From Santa Fe: VanessaĪmong the many pleasures of attending the Santa Fe Opera every summer, is the presence of a contemporary opera among the five productions. Santa Fe Opera: Virginie Verrez (mezzo-soprano) in Samuel Barber’s Vanessa. ![]()
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