Showing posts with label Meagan Miller. Show all posts
Showing posts with label Meagan Miller. Show all posts

Tuesday, May 31, 2022

La 9a de Beethoven en Houston

Foto: Zach Tarrant

Ramón Jacques 

Varias orquestas estadounidenses eligieron esta pieza de Beethoven para clausurar su temporada 2021-2022, no solo porque es una obra popular del repertorio si no por su mensaje de alegría y esperanza, que supuso el retorno de tiempo completo a sus actividades musicales después de dos años complicados vividos por las agrupaciones musicales de este país, cuya fuente principal de ingresos proviene de la venta de abonos y de aportaciones privadas. La Houston Symphony, la incluyó como parte de un ciclo de sinfonías de Beethoven que se ejecutaron a lo largo de la temporada, que comenzó en septiembre del 2021, y que sirvió además como el ambicioso colofón que fue la presentación de Juraj Valčuha, quien en este concierto asumió formalmente la posición de nuevo director titular de la orquesta.  De hecho, el joven director esloveno, de amplio bagaje y experiencia -apenas dos semanas antes de viajar a Houston dirigió el estreno de la nueva producción de Don Carlo de Verdi en el teatro nacional eslovaco en su natal Bratislava- fue uno de los pocos directores internacionales que durante el momento más álgido la pandemia pudo viajar para dirigir in-situ a su nueva orquesta, en un concierto con un reducido público, que transmitido por internet. Valčuha llega a Houston con inmejorables credenciales, habiendo dirigido una extensa lista de importantes orquestas sinfónicas europeas y estadounidenses, e importantes teatros de ópera, especialmente de Italia; por lo que no debe sorprender que anunciara que entre sus planes futuros con la orquesta se encuentra la ejecución de diversos títulos operísticos. Como introducción a una velada ampliamente satisfactoria, se escuchó una breve pieza cameristica, de seis minutos de duración, titulada Elegy for Strings: A Cry From the Grave del compositor estadounidense Carlos Simon, una fluida, intensa y melancólica obra compuesta en el 2015, y que ha tomado notoriedad y popularidad en el ambiente musical estadounidense desde el 2020, por tratarse de un homenaje a las injustas muertes del abuso policial.  Dirigiendo la novena sinfonía, Valčuha demostró que su contratación fue un acierto de la orquesta, por la autenticidad, la pasión y la capacidad de comunicarse sin palabras, pero con elocuentes y expresivos gestos con su batuta.  La espontaneidad con la que una persona sentada atrás de mí lo describió me pareció acertada al mencionar que ‘parecía un pintor coloreando un lienzo’.  Con un hábil toque y mostrando admirable control y moderación a lo largo de la pieza, hizo que cada sección de la orquesta, coro, y solistas, ocuparan el lugar preponderante que les corresponde. Su lectura se basó en la sutileza y la elegancia, en vez de la fuerza desmedida que normalmente se suele imprimir, dando a la grandeza épica de la partitura una sensación de intimidad y libertad. La textura que imprimió a cada movimiento fue una especie de ilusión musical, un vaivén instrumental de melodías entre los violines, las flautas, y los metales, hasta que apareció la melodía de la ‘oda a la alegría’ con unos vibrantes y tenues chelos que se fue extendiendo a toda la orquesta. Los cuatros solistas vocales invitados mostraron satisfactorias cualidades canoras, como el tenor Eric Cutler, por su profundidad y expresión; el bajo Mark S. Doss por su extensión vocal; así como la soprano Meagan Miller que cantó con emocionante lucidez; y la mezzosoprano Sasha Cooke por la musicalidad que imprimió a su oscuro y terso canto. El coro Houston Symphony Chorus, mostró firmeza y consistencia en sus intervenciones, como lo hiciera hace apenas unas semanas en otra obra monumental como lo es la Segunda Sinfonía de Mahler. Los resonantes aplausos y explosión de júbilo, que se escucharon al final, de un público entusiasta, pero pocas veces desbordado como en esta ocasión son una buena señal de que Valčuha, inicia, lo que seguramente será un periodo lleno de promesas, posibilidades y satisfacciones. Su próxima aparición aquí, será el próximo mes de septiembre en la inauguración de la temporada 2022-2023 con el Réquiem de Verdi.

 

Wednesday, February 15, 2012

MARCELLO GIORDANI, TENOR, AND MEAGAN MILLER, SOPRANO,

MARCELLO GIORDANI, TENOR, AND MEAGAN MILLER, SOPRANO, PRESENTED BY THE GEORGE LONDON FOUNDATION RECITAL SERIES AT THE MORGAN LIBRARY & MUSEUM ON SUNDAY, MARCH 4, 2012, AT 5:00 PM.
“Scores of important singers have been discovered by the [George London Foundation] competition over the years,” wrote Peter G. Davis in The New York Times on February 12. One of these, 2008 George London Award-winning soprano Meagan Miller, joins star tenor Marcello Giordani to make the latest pair of singers presented by the George London Foundation Recital Series, which often features a recent winner of the foundation’s competition and an established opera star.
On Sunday, March 4, 2012, at 5:00 PM, with Howard Watkins at the piano, Mr. Giordani performs Puccini’s “Ch’ella mi creda libero” from La Fanciulla del Westand “Donna non vidi mai” from Manon Lescaut as well as Neapolitan songs by Tosti; and Ms. Miller sings songs by Brahms and Fauré, and “Tu che le vanita” from Verdi’s Don Carlo (further program details below). The program will conclude with the pair singing a duet from Verdi’s Otello.
In February and March, Marcello Giordani sings three roles at the Metropolitan Opera: the title role in Ernani, Radames in Aida (a role in which he made his debut just last season with the San Francisco Opera), and Pinkerton in Madama Butterfly. This past December, he sang the role of Don José in a production of Carmen at the Royal Opera House in Muscat, the capital of Oman. The Times of Oman praised “his strength as an actor. His Don José was weak and incapable of resisting a captivating woman. ...Giordani seemed tormented and frustrated, a perfect Don José!”
In 2008, Meagan Miller won both a George London Award and the London Foundation’s Vienna Prize, a two-week residency in Austria where the prize-winner receives an audition with the Vienna Opera and intensive musical coaching in German repertoire and language. This past December, she made her debut in the title role of Daphneat the Vienna State Opera. The Vienna daily Die Presse described her as“floating, powerful in a gleaming debut ... In the center stands a new Daphne, who can do justice to the eminent demands: to grow from many lightning-clean coloratura-decorated flower greetings to appropriate mythic greatness.” Coming up later this spring are her role debut as Elisabetta in Don Carlo, and Desdemona in Otello, both with Deutsche Oper Berlin.
Upcoming events in 2011-2012
The George London Foundation for Singers season at the Morgan also features the annual awards competition and the final event in the season’s recital series:
  • The 41st annual George London Foundation Awards Competition begins with three days of preliminary auditions and culminates with the final round and award ceremony open to the public. The 2012 competition takes place February 13-17, and the public is invited to attend the competition finals and awards announcement on Friday, February 17, 2012.
  • Lisette Oropesa, soprano, and Brian Mulligan, baritone, perform in recital with Ken Noda, piano, on Sunday, April 1, 2012, at 5:00 PM. Ms. Oropesa, a 2008 George London Award winner; and Mr. Mulligan, who won the award in 2003, perform their only New York recitals.
The Legacy of George London
The goal of the George London Foundation, the support and nurturing of young singers, was an abiding interest of the great American bass-baritone George London, who devoted a great part of the time and energy of his later years to this purpose. “Remembering his difficult road to success, George wanted to devise a way to make the road a little easier for future generations of singers,” said George London Foundation President Nora London. Initially created under the auspices of the National Opera Institute, the George London Awards program has been administered since 1990 directly by the Foundation as a living legacy to George London’s own exceptional talent and generosity.
“I have never forgotten how George accepted my performance of Donna Anna with himself as [Don Giovanni] in Vancouver in 1958. His belief in my ability gave a huge boost to my confidence, something he did for so many young singers during his spectacular career.”
-Dame Joan Sutherland
Meagan Miller (www.meaganmillersoprano.com) is making celebrated debuts on important stages all over the world, interpreting the leading ladies of Mozart, Strauss, Verdi, and Wagner. Ms. Miller’s 2011-2012 season includes a series of role debuts: the title role in Richard Strauss’ Daphne at the Vienna State Opera, Elisabetta in Verdi’s Don Carlo and roles in Wagner’s Ring cycle at the Deutsche Oper Berlin. She will also sing Desdemona in Verdi’s Otellowith the Deutsche Opera Berlin at Grand Théâtre de Luxembourg, Sieglinde in a concert of Act 1 of Wagner’s Die Walkyre with the Melbourne Symphony, Beethoven’s Symphony No. 9 with the Cleveland Orchestra, and two recitals with Lyric Fest in Philadelphia.
Meagan Miller’s future engagements beyond the 2011-2012 season include debuts at the Washington National Opera, Opera Monte Carlo, Tokyo’s New National Theater, and the Lucerne Festival; plus returns to the Hamburg State Opera and the Vienna State Opera. The roles for these appearances include Donna Anna in Don Giovanni, Rosalinde in Die Fledermaus, Ellen Orford in Peter Grimes, the title role in Ariadne auf Naxos, Sieglinde in Die Walküre, Eva in Die Meistersinger von Nuernberg, Marie/Marietta in Die Tote Stadt,Minnie in La Fanciulla del West, Elsa in Lohengrin, and Elisabeth in Tannhäuser.
An accomplished recitalist and noted interpreter of new music, Meagan Miller has premiered many works written specifically for her voice, including Libby Larsen’s Try Me Good King: The Last Words of the Wives of Henry VIII and Robert Beaser’s Four Poems of Emily Dickinson. Ms. Miller has also premiered significant works by Thomas Cipullo, Christopher Berg, Niccolo Athens, and Russell Platt, among others.
Marcello Giordani (www.marcellogiordani.com) has been hailed by the international press as one of the most important tenors on the opera stage today; Opera News called him in 2008 “arguably, the greatest leading tenor of his generation.” Giordani’s schedule for the 2011-2012 opera season includes Toscaat the Deutsche Oper Berlin; Trovatoreand Carmen at the Teatro Massimo Bellini of Catania; and Carmen again at the new Royal Opera House in Muscat, Oman. He began 2012 with Aida at the Lyric Opera of Chicago, and performs in Ernani, Aida, and Madama Butterfly at the Metropolitan Opera, Cavalleria Rusticana at the Opéra National de Paris, and Tosca at the Wiener Staatsoper. Verdi’s Ernani will be transmitted live in HD from the stage of the Metropolitan to participating cinemas throughout the world on February 25, 2012. On the concert stage, he appeared with soprano Ildikó Komlósi at the Palace of the Arts in Budapest in September 2011, and in October was joined by soprano Angela Meade and young singers from the Marcello Giordani Vocal Competition for an evening of opera arias to benefit the Marcello Giordani Foundation. In December, he traveled to St. Petersburg, Russia, to participate as a guest artist in Dimitri Hvorostovsky’s “Dimitri and Friends.”
Pianist Howard Watkinsis a frequent associate of some of the world’s leading musicians both on the concert stage and as an assistant conductor at the Metropolitan Opera. He has performed in numerous recitals and concerts throughout North and South America, Europe, Russia, Israel, and the Far East. In recent seasons, he has appeared in concert and on television with Kathleen Battle, Grace Bumbry, Mariusz Kwiecien, Michelle DeYoung, Natalie Dessay, Diana Damrau, Anna Netrebko, Rolando Villazón, Elizabeth Futral, Anthony Dean Griffey, and violinist Sarah Chang. Under the aegis of the Marilyn Horne Foundation, Mr. Watkins has performed in recitals and educational residencies in the U.S., and has also appeared in the Horne Foundation gala New York recital.

Sunday, March 4, 2012, at 5:00 PM
Gilder Lehrman Hall at The Morgan Library & Museum
225 Madison Avenue at 36th Street, New York City
The George London Foundation Recital Series presents
MARCELLO GIORDANI, Tenor
MEAGAN MILLER, Soprano
Howard Watkins, Piano
Program order to be announced
FAURÉ “Les Roses d’Ispahan”
“Les Berceaux”
“En sourdine”
“Nell”
(Ms. Miller & Mr. Watkins)
BRAHMS Songs to be announced (Ms. Miller & Mr. Watkins)
VERDI “Tu che le vanita” from Don Carlo (Ms. Miller & Mr Watkins)
PUCCINI “Ch’ella mi creda libero” from La Fanciulla del West
“Donna non vidi mai” from Manon Lescaut
(Mr. Giordani & Mr. Watkins)
TOSTI Neapolitan songs to be announced (Mr. Giordani & Mr. Watkins)
VERDI A duet from Otello (Ms. Miller, Mr. Giordani, Mr. Watkins)
Tickets: $45
Call (212) 956-2809, 
e-mail info@georgelondon.org

Monday, July 18, 2011

2011 Bard SummerScape Festival Enriches Exploration of “Sibelius and His World” with NY’s First Fully-Staged Production of Richard Strauss’s Opera Die Liebe der Danae (July 29 – Aug 7)

Photo: Bard Summerscape: The Richard B. Fischer Center for the Performing Arts/ Danae and the shower of gold (detail) Red figure bell krater from Boeotia, ca 430 BCE. Photo: Herve Lewandowski. Reunion des Musees Nationaux / Art Resource, N.Y.

http://fishercenter.bard.edu/summerscape/2011/
  Reviving an important but rarely performed opera is one of the ways the Bard SummerScape festival paints a nuanced portrait of the past, and this year’s exploration of “Sibelius and His World” is no exception. This year, Bard presents the first fully-staged New York production of Die Liebe der Danae (The Love of Danae, 1940), by Sibelius’s contemporary Richard Strauss. The production, starring soprano Meagan Miller, will be directed by dynamic young opera and theater director Kevin Newbury, both making SummerScape debuts. The opera’s five performances (July 29 & 31; August 3, 5, & 7) feature the festival’s resident American Symphony Orchestra and music director Leon Botstein, whose 2001 Telarc recording of the work won high praise.


Sibelius (1865-1957) and Richard Strauss (1864-1949) were close contemporaries, whose life and work show noteworthy parallels. In selecting Die Liebe der Danae as its operatic centerpiece, Bard aims to investigate those similarities. Like Sibelius, Strauss excelled at painting nature in sound and the two manifested greater command of orchestral color than any other composers of the 20th century. Both flirted briefly with atonality in the wake of Schoenberg’s first expressionist experiments, Strauss with Salome and Elektra and Sibelius with his Fourth Symphony and Luonnotar. Both composers, moreover, abandoned it soon afterwards, Strauss re-embracing a more tonal musical language with Der Rosenkavalier and Sibelius with The Oceanides and the Fifth Symphony. In addition, both composers turned to the distant past, and in particular to myth, to deal with issues of the day. For Sibelius, the Kalevala provided the basis of his exploration of national identity and nationhood. And Strauss turned to the Greeks to explore love, human nature, and money.

Both supported each other’s work: it was Strauss who conducted the Berlin Philharmonic in the world premiere of Sibelius’s seminal violin concerto in 1905, while, for his part, the great Finn studied Strauss’s music in Germany, where he reported finding Salome’s instrumentation “masterly.” If the two, while each achieving a distinctive and original voice, may be said to have resisted musical modernity, this conservatism extended also to politics: both Strauss and Sibelius, facing different pressures in their respective corners of Europe, made compromising concessions to the Nazis. When Finland allied herself with Germany against the Soviets, Sibelius – championed as a Nordic “Aryan” – became a favorite composer of the Third Reich, and his works received numerous performances. While harboring private doubts about the Nazis’ racial laws and policies, he took no public stand against them, and was assiduous in collecting German royalties.

Strauss, based in Berlin, tried to cooperate with the Nazi regime while maintaining a non-political stance, in order to promote his career and advocate for Jewish friends and relations, who included his daughter-in-law and grandchildren. Although he has often been denounced as a Nazi stooge, in fact Strauss’s role was more complicated; it is telling that he privately considered Goebbels’s “Jew-baiting as a disgrace to German honor,” while the Nazi Minister of Propaganda, in his turn, looked forward to having “no further need of this decadent neurotic.”
This year’s opera presentation is Die Liebe der Danae (The Love of Danae, 1940), Strauss’s penultimate opera. Although the composer lived to see the work in dress rehearsal, its intended premiere was postponed by Goebbels’s declaration of “total war,” and the opera was first fully staged posthumously, in 1952. To this day, Danae has been only rarely performed, owing both to its considerable vocal demands and to the taint of its origins in Nazi Germany. Nevertheless, connoisseurs of Strauss tend to have a special regard for the work. According to his biographer Michael Kennedy: “Die Liebe der Danae does not deserve its neglect. Its third act alone lifts it into the category of first-rank Strauss.”

The libretto, written by Joseph Gregor from a scenario by Hugo von Hofmannsthal, combines the legend of King Midas and the myth of Jupiter’s “golden rain” visitation on Princess Danae into a modern fable on the love of money and the power of love. Set in the doomed bankrupt nation Eos, it represents a wry comment on Germany’s own hyperinflation crisis in the last years of the Weimar Republic. As Botstein comments, the premiere suffered from bad timing, for Gregor’s is “a very ironic libretto … filled with a kind of contemporaneity which didn’t fit in the early ’50s.” Botstein adds: “Danae is actually one of Strauss’s masterpieces… his sort of swan song to the operatic form.”

The new production – the first to be fully staged in New York – will showcase soprano Meagan Miller, German baritone Carsten Wittmoser as Jupiter, and as Midas, Canadian tenor Roger Honeywell, soprano Camille Zamora. Set design is courtesy of renowned Uruguayan architect Rafael Viñoly. The opera’s five performances (July 29 & 31; August 3, 5, & 7) will be sung in the original German with English supertitles, and conducted by music director Leon Botstein.

Opera at SummerScape 2011
Richard Strauss (1864-1949)
Die Liebe der Danae (The Love of Danae, 1940)
Libretto: Joseph Gregor
American Symphony Orchestra
Conducted by Leon Botstein, music director
Directed by Kevin Newbury
Set design by Rafael Viñoly and Mimi Lien
Danae: Meagan Miller
Jupiter: Carsten Wittmoser
Merkur: Jud Perry
Pollux: Dennis Petersen
Xanthe: Sarah Jane McMahon
Midas: Roger Honeywell
Semele: Aurora Perry
Europa: Camille Zamora
Alkmene: Jamie Van Eyck
Leda: Rebecca Ringle
Sosnoff Theater
July 29 and August 5 at 7 pm
July 31, and August 3 and 7 at 3 pm
Tickets: $30, $60, $70, $90