2

Cont.- from previous page:

BEST STAGE DIRECTION: The winners are Woody Allen and William Friedkin for Los Angeles Opera’s “Il Trittico.”

I wrote in my review of “Suor Angelica” that William Friedkin “had the expertise to bring the inside of Radvanovsky’s soul and character to life so that we in the audience could feel her suffering and then subsequent redemption.”

As for “Gianni Schicchi,” I wrote that Woody Allen “knew exactly how to make the audience laugh by giving the singers business and blocking that kept us forever watching in fear that we would miss something.”

I wrote about them both: “This night truly belonged to the directors. . . . They have proved that singers are indeed able to act when given the proper directions. . . . Many directors often believe that they have to use gimmicks and create the bizarre in order to spark the audience’s attention. Friedkin and Allen have showed that creativity within the confines of professionalism and good taste can prevail.”

BEST SET DESIGN: The winner is Santo Loquasto for “Gianni Schicchi.”

I wrote that Loquasto’s set was “intricate” with “masterful craftsmanship, all in silvery gray: buildings, leveled spaces, spiraling staircases, laundry on clotheslines, and a singular bed just off center. This wasn’t Puccini’s 1299 Florence. It was a hilariously wonderful 1950s tenement.” And I loved it.

BEST COSTUMES: The winner is Linda Cho for Los Angeles Opera’s “Die Vögel” (“The Birds’).

I wrote: “The birds are dressed in ancient Greek, Roman and Egyptian costumes with elaborate bird headdresses and wings. . . . The flowing fabrics and sweeping movement of the dancers accentuate the flow of Braunfels’ constantly moving music.”

BEST LIGHTING: The winner is Robert Wilson and A.J. Weissbard for Los Angeles Opera’s “Madama Butterfly.”

I have seen Robert Wilson’s “Madama Butterfly” twice. Although I have been critical of the production for numerous reasons, I believe as I wrote in my review that “the Wilson vision – with its Noh, Kabuki and Commedia dell’arte influences – is at times phenomenal; the lighting, awe-inspiring.” The various hues of light on a blank cycloramic backdrop behind a minimalistic set make his “Madama Butterfly” a totally visual experience. The vision is sophisticated, stylized, classic and stunning.

BEST PERFORMANCE BY A LEADING MALE: The winner is Vitalij Kowaljow as Wotan in “Das Rheingold” and “Die Walküre.”

Even though Vitalij Kowaljow’s Wotan was always hidden behind a costume, I detected a unique melodious sound. As Wotan in “Das Rheingold,” I wrote: “Ukrainian bass Vitalij Kowaljow instantly had my attention when I heard the dense opulence of his sound. No gutteral placement, no wobble – it was sheer heaven to hear a youthful bass that hasn’t had to bear the tides of time. For his portrayal in “Die Walküre,” I wrote that he has a “rich voice that stood out above the rest because of its unique quality.”

But I would be remiss if I didn’t mention that my decision was based on two nominees, and Nathan Gunn in “Die Zauberflöte” was the other one. He was utterly delightful. I wrote that his performance as Papageno “had a glorious freedom to it. There was an ease to his movement, acting and delivery that made him captivating like a breath of fresh air.”

BEST PERFORMANCE BY A LEADING FEMALE: The winner is Sondra Radvanovsky as Angelica in “Suor Angelica.”

Sondra Radvanovsky as Sister Angelica in “Suor Angelica” was wonderful. I wrote: “Her vocal timbre is luscious, and she utilized it to weave a ladder of golden tones not unlike the magical locks that brought Rapunzel to her fairy-tale prince.”

But again, there were two nominees and the other one was Marina Poplavskaya as Violetta in LA Opera’s “La Traviata.” I wrote that she is “a great talent with one of the most beautiful soprano voices I have heard in years. The timbre and quality of her voice evoke visions of a pure crystalline stream traveling effortlessly through hills and dales. Her ease of delivery is phenomenal. . . . Hers is the mellow voice of a mezzo-soprano with the top range of a coloratura and the power of a Wagnerian.”

BEST CONDUCTOR & ORCHESTRAL PERFORMANCE: The winner is James Conlon with the Los Angeles Opera Orchestra.

James Conlon has conducted six of the companies nine productions during the 2008-09 season: “Il Trittico,” “Madama Butterfly,” “Die Zauberflöte,” Das Rheingold,” “Die Walküre,” and “Die Vögel.” I wrote that he led the orchestra of “Il Trittico” with “conviction.” He provided the singers and orchestra “with a primary source of energy as their eyes gravitated to his baton” when conducting “Die Zauberflöte.” “At times the music was full-bodied and specific” in “Die Walküre.” And the orchestra glowed under his “insightful direction” of Walter Braunfels’ “Die Vögel.”

BEST PERFORMANCE IN A COMPRIMARIO ROLE – FEMALE: The winner is Beth Clayton as the Third Lady in “Die Zauberflöte.”

I wrote: “Clayton’s mannerisms were hilarious, her comedic timing was perfect, and she stood out in a role that normally only blends. What a joy.”

BEST PERFORMANCE IN A COMPRIMARIO ROLE – MALE: The winner is Philip Cokorinos as Baron Douphol in “La Traviata.”

I wrote: “Philip Cokorinos was a noteworthy Baron Douphol, a character that often fades into the woodwork. Not Cokorinos – his burnished bass-baritone projected into a portrayal of note.”

BEST PERFORMANCE BY A CHORUS: The winner is the Los Angeles Opera Chorus for “Die Vögel” under the direction of Associate Conductor-Chorus Master Grant Gershon.

I wrote: “The chorus sang gloriously in praise of Zeus at the finale.”

BEST ASPIRING NEWCOMER – MALE: The winner is Douglas Carpenter, who played Billy Bigelow in Opera UCLA’s “Carousel.”

In my review of Opera UCLA’s “Carousel,” I attempted to define “IT” – that certain something that some performers have that render them unique. I wrote: “In the case of Doug Carpenter, that quality is evident when he performs musical theater.” He has looks, a voice, talent and charisma. If he follows the guidance of his very capable mentors at UCLA, he should go far.

BEST ASPIRING NEWCOMER – FEMALE: The winner is Ronnita Nicole Miller, who played La Badessa in LA Opera’s “Suor Angelica.”

In my review of “Suor Angelica,” I wrote: “Ronnita Nicole Miller’s full-bodied creamy sound makes her one of this season’s young artists to watch.” Miller is a mezzo-soprano in the Domingo-Thornton Young Artist Program. She also sang Schwertleite in “Die Walkure” during the 2008-09 season and is singing the role for LA Opera’s “Ring” cycles in 2010. I also heard and admired her voice at the Domingo-Thornton Young Artist Program concert at the Broad Stage, and at a master class given by Carol Vaness. She has a huge, rich dramatic voice and is definitely a presence to watch.

By R. Todd Shuman

BEST OPERA: “Tristan und Isolde” (Lyric Opera of Chicago)
This notoriously difficult opera is a welcome addition to any season—especially when it involves Deborah Voigt and Clifton Forbis leading this visually stunning production from Lyric Opera of Chicago