Vargas and Coote shine in SF Opera's 'Werther'

By Eman Isadiar

SAN FRANCISCO -- In its second production of the season, San Francisco Opera presented one of the most beloved of international opera stars, Mexican tenor Ramón Vargas, in the title role of “Werther” by romantic French composer Jules Massenet. Mezzo-soprano Alice Coote sang the part of Charlotte with baritone Brian Mulligan in the role of Albert. Appearing as Charlotte's sister Sophie, newcomer Heidi Stober proved to be a solid pillar of this co-production with Lyric Opera of Chicago.

Ramón Vargas and Alice Coote co-star in SF Opera's new "Werther."
Photo: Cory Weaver

Massenet's music came across as strikingly romantic, complex and subtle as led by French guest conductor Emmanuel Villaume. The only plausible explanation for why Massenet never rose to the huge popularity enjoyed by his Italian contemporaries, is that his operas are largely based on story lines that may be qualified as dull by comparison. The creative genius of stage director Francisco Negrin, however, breathed new life into this “Werther” despite its tedious tale.

The story depicts the most banal love triangle imaginable, all three of whose sides are pathetically passive. Charlotte is engaged to Albert, whose friend Werther is obsessed with Charlotte, who is fully aware but does nothing about the whole situation. While Werther publicly denies his crush, he continues to stalk Charlotte, who is somehow flattered by her not-so-secret admirer, but proceeds to marry Albert anyway in order to keep a promise to her deceased mother.

Werther's obsession reaches pathological proportions. Charlotte soon realizes that she, too, loves Werther. After a brief declaration of mutual affection, the two consummate their love standing up against a tree. While any average man would be ecstatic to discover that his love is reciprocal, Werther instead proceeds to shoot himself and leaves Charlotte with a guilt-ridden conscience not only for having committed adultery, but for causing his death.

To add insult to injury, his dying wish is for Charlotte to drag his body a considerable distance and bury him since he cannot receive a proper church burial after having committed suicide.

The New York Times has described Ramón Vargas as a “creamy-voiced tenor.” However, Vargas's smooth tones and rich timbre in this “Werther” by far surpassed the realm of dairy. A voice of such purity and finesse deserves the creation of a new qualifier – perhaps “Ramónian” or, better yet, “Vargâsque.”

One of the unique characteristics of Vargas is that it is impossible to decide which is his most spellbinding scene or aria in any given opera. His deeply moving aria “Ô Nature, pleine de grâce” (“Oh Graceful Nature”) of Act 1, was matched – not outdone – by his heartbreaking “Pourquoi me réveiller” (“Why Awaken Me”) of Act 3.

Alice Coote was equally captivating as Charlotte and made a worthy partner to her illustrious co-star Vargas. Her perfectly nuanced rendition of “Va, laisse couler mes larmes” (“Go, Let My Tears Flow”) was one of the opera's most memorable moments. Coote's delicate voice delivered a certain verse of the aria which rang ominously true – “The tears we hold back can only fall inside.”

The stationary set consisted of three rows of trees in center stage, with partially metallic-looking trunks. A banner with the image of green leaves was suspended over the trees to indicate summer, later replaced with a banner of brown leaves for fall. The bare branches with no banner represented winter. Off to one side, a large pile of luggage, chests and boxes of different shapes and sizes (one containing a disassembled grand piano) doubled as a staircase from which characters would enter and exit the stage.

Opposite the mound of clutter, the stage was bordered with an L-shaped brushed aluminum partition, strangely resembling an airport luggage carousel. Just below the pile of boxes was Werther's bedroom in what looked like a dark basement. Costumes were consistent with Goethe's 18th century story, which Massenet used as the basis for the opera.

“Werther” is on stage at the War Memorial Opera House through October 1.

Talamantes enchants as Verdi's Violetta

By Eman Isadiar

FREMONT—The 700 or so spectators attending Fremont Opera last weekend would agree that the show was well worth the wait. Local opera fans, as well as a growing group of commuters, have come to know Fremont Opera as something of an oyster that stays shut for a year; sometimes longer. But when it opens, it reveals a shiny, new pearl. Verdi's La Traviata was indeed a gem of a production, thanks in large part to the dramatic flair of stage director Jonathan field.

Soprano Danielle Talamantes and tenor Benjamin Bunsold star in
Fremont Opera's 'La Traviata' (photo by James Sakane).

The cast featured not one, but two winners of the prestigious Irene Dalis Vocal Competition, namely soprano Danielle Talamantes in the title role and baritone Scott Bearden who sang the part of Giorgio Germont. Gifted tenor Benjamin Bunsold appeared as Alfredo Germont.

Other distinguished artists who each made an important contribution to the production as a whole were baritone Igor Vieira (Baron Douphol), tenor Brian Thorsett (Gastone) and mezzo-soprano Sonia Gariaeff (Flora). Shira Renee Thomas brought much talent and dimension to the character of Annina the maid.

The opera tells the story of Violetta Valéry, a high-class 19th century Parisian courtesan, who at first resists the advances of nobleman Alfredo Germont but ends up falling in love with him. She leaves her former lifestyle to be with Alfredo, much to the dismay of Alfredo's father who plots to separate them. He visit Violetta and asks her to leave his son, which she does out of a mix of shame and altruism.

Not knowing his own father is behind the separation, Alfredo publicly humiliates Violetta in a heartbreaking scene, which worsens Violetta's already poor health due to tuberculosis. The two meet again when Violetta is poverty-stricken and in her deathbed. She finally tells Alfredo the truth and dies moments later in his arms.

Danielle Talamentes has the pipes, the looks and the smarts for a very promising future in opera. But when you add her impressive Italian diction and acting skills to the mix, you have a bona fide star on your hands. It comes as no surprise that Talamantes will join the nation's largest opera company, Metropolitan Opera, as an understudy next spring.

Her rendition of “Sempre libera” (“Forever Free”) of Act 1—where Violetta sings of her inner conflict between her attraction to Alfredo and her desire to stay free and single—was one of the production's brightest highlights. Another stunning Talamantes moment was the aria “Morir si giovane” (“To Die so Young”) of the last scene, which left the audience breathless and reaching for the elusive Kleenex pack.

Other deeply emotional and memorable moments of the opera were Alfredo's aria “Miei bollenti spiriti” (“My Spirit Boils”) of Act 2, which Bunsold delivered in soul-stirring tones, and Scott Bearden's “Di Provenza il mar” (“The Sea of Provence”), which brought the first scene of Act 2 to a close on a particularly powerful note.

Since its inaugural production of Puccini's La Bohème in 2007, Fremont Opera has presented semi- and fully-staged productions that encapsulate the emotional essence of each opera in its most compelling form, but with less of the glitz and sparkle of elaborate sets and costumes.

Two productions later, Fremont Opera has bottled the formula. The secret recipe: principal roles sung by young vocal talent just rising to stardom, a brilliant stage director and a top-notch professional symphony orchestra.

Of course, only a well-admired and influential conductor like David Sloss has the artistic clout and skill to bring the prized ingredients together, and, voilà, it is done.

Love and betrayal to begin Friday

Up-and-coming soprano Danielle Talamantes will appear in the title role in Fremont Opera's La Traviata (photo courtesy of Fremont Opera).

Fremont Opera performs Verdi’s La Traviata

FREMONT—Opera fans prepare for a potent dose of forbidden love and tragedy as Fremont Opera’s eagerly anticipated third production—Verdi’s masterpiece La Traviata—opens on Friday, August 27, 2010 at 8pm at the Smith Center of Ohlone College, followed by a 2pm matinée performance on Sunday, August 29.

The leading roles of Violetta and Alfredo are sung by two rising opera stars, soprano Danielle Talamantes and tenor Benjamin Bunsold, in a cast of such distinguished artists as Scott Bearden, Igor Vieira and Brian Thorsett. Stage director Jonathan Field and chorus master James Richard Frieman will join forces with artistic director David Sloss in what promises to be yet another unforgettable production by Fremont Opera.

The opera’s title, which can be loosely translated as “The Fallen Woman,” refers to a famed Parisian courtesan, Violetta Valéry, who captures the heart of a certain nobleman named Alfredo Germont. The two fall passionately in love and begin a life together in Violetta’s country villa. Violetta abandons her former life—which has severe financial consequences unbeknownst to Alfredo—and becomes a faithful companion while trying to maintain a lavish lifestyle for both of them.

She is also secretly battling tuberculosis.

Alfredo’s father pays a surprise visit to Violetta and convinces her to leave his son because her reputation as a courtesan has lowered his family’s social status and has even jeopardized his daughter’s engagement to nobility. Heartbroken, Violetta feels compelled to make this ultimate sacrifice, but does so with a dash of cruelty so Alfredo will no longer love her and is able to fall in love with a more deserving woman. Alfredo must also remain unaware that his own father has caused the break-up.

The pain of separation is unbearable for both Violetta and Alfredo. She returns to her former wealthy lover while her health continues to deteriorate. But she comes face-to-face with Alfredo once again at a party in the story’s climactic scene and arguably the most powerful operatic moment of all time.

In the third and final act, Alfredo finally discovers the truth as Violetta succumbs to the illness and dies in his arms.

About the artists

Danielle Talamantes (Violetta) makes her Fremont Opera debut in La Traviata after winning first prize in the 2010 Irene Dalis Vocal Competition. In the spring of 2011, she will be covering roles at the Metropolitan Opera in New York. She has appeared in many productions throughout the United States and won numerous prestigious awards including Concurso de Trujillo, Liederkranz Competition and the International Lotte Lehman Cybersing and Vocal Arts Society Competitions. She has also appeared in recital at Weill Recital Hall at Carnegie Hall as the winner of the National Association of Teachers of Singing Artist Awards.

Benjamin Bunsold (Alfredo) has appeared this season with Opera Columbus, St. Petersburg Opera, and Opera Idaho. He has performed for companies throughout the country, including Opera Delaware, Shreveport Opera, New Opera St. Louis, and Memphis Opera. He has been in resident artist and apprentice programs at Glimmerglass Opera, Utah Festival Opera, Fort Worth Opera, and Tampa Opera.

Jonathon Field has directed over ninety productions throughout the United States for Lyric Opera of Chicago, San Francisco Opera's Western Opera Theatre and Seattle Opera. Over the past ten years he has directed ten productions for Arizona Opera, and has been hailed as “their most perceptive stage director”. Mr. Field introduced computer-generated scenery to opera production in Candide, and has pioneered the use of video-projected scenery in productions of The Tales of Hoffmann and Der Freischütz. He assisted Robert Altman with the world premiere of William Bolcom’s McTeague in Chicago, and David Alden with Conrad Susa’s The Love of Don Perlimplin in San Francisco. As artistic director of Lyric Opera Cleveland, Mr. Field staged a production of Don Giovanni that was nominated for the Northern Ohio Live Award of Achievement. Other notable productions at Lyric Opera Cleveland have included a unique Così fan tutte in which the audience votes to choose one of three alternative endings.

David Sloss, artistic director of Fremont Opera, conducted the Fremont Opera productions of La Bohème and The Barber of Seville, and returns now for his third appearance. Since 1980, he has been music director and conductor of the Fremont Symphony, which also serves as the orchestra for Fremont Opera. During his long association with West Bay Opera, he conducted over twenty productions for the Palo Alto-based company where he served as general director from 1997 to 2005, and also as stage director for productions of Carmen, Il Trovatore, The Barber of Seville, and Lucia di Lammermoor. He has conducted operas for Pacific Repertory Opera, Berkeley Opera, the Lamplighters, the San Francisco Talent Bank, and the Oakland Symphony. He was Professor of Music at Sonoma State University and has worked as a producer and director for WGBH-TV in Boston, where he received an Emmy nomination for the National Educational Television series A Roomful of Music. He holds degrees in music from Harvard College and Stanford University.

Fremont Opera performs Verdi’s La Traviata
Friday, August 27, 2010 at 8 pm
Sunday, August 29, 2010 at 2 pm
The Smith Center for the Performing Arts
Ohlone College, 43600 Mission Blvd., Fremont
Tickets $46-$50
www.fremontopera.org - (510) 474-1004