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Best Opera Overall
Best Leading Male
Best Leading Female
Best Performance by an Orchestra
Best Set Design

Best Lighting
Best Costumes
Best Stage Direction
Best Performance by a Chorus
Most Dynamic Couple

The "Best Of" everything we saw and heard in the 2007-2008 opera season.

Worldwide reviews for a worldwide audience

The operas, recitals and concerts I reviewed for the 2007-08 season and summer include: Los Angeles Opera’s “Don Giovanni,” “La Bohème,” “Tristan und Isolde,” “Otello,” “Recovered Voices,” “Tosca,” “La Rondine,” and a recital given by Bryn Terfel. In addition, I wrote about Attila Glatz’s “Salute to Vienna,” San Francisco Performances’ “Pauline Viardot and Friends,” Theatre West’s “A Very Brady Musical,” Vladimir Chernov’s recital at UCLA, and the Los Angeles Philharmonic’s summer concert of “Carmen.” I attended but did not review certain performances that I am including as considerations for the “Best Of” awards. They are the UCLA music department’s “Falstaff” and “Threepenny Opera,” a Long Beach Opera recital given by Frederica von Stade, a concert with mezzo-soprano Juliana Gondek, and West Los Angeles Symphony’s annual concert featuring soprano Angel Blue. I also attended some competitions and master’s degree recitals.

BY; CARIE J. DELMAR
OPERAONLINE.US

BEST OPERA OVERALL – BEST PRODUCTION (BEST SET DESIGN, STAGE DIRECTING, CHOREOGRAPHY, VISION, COSTUMING, LIGHTING): The winner is Los Angeles Opera’s “La Rondine.”

What can I say? I just liked this

operetta-like opera – Puccini’s version of Lehár. I wrote in my review: “I thought that the sets and costumes were wonderful. . . . The stage was decked out with lavish cascading draperies, French doors, a prominent crystal chandelier, candelabras. . . .That was the first act. The second act . . . resembled Flora’s scene in ‘La Traviata’. . . . A party, can-can dancers, colorful costumes, gaiety, frolicking . . . . The set in Act 3 was a major contrast to the other two – a vacation house by the sea, bright lighting, a picnic area, and a stark blue backdrop. . . . But when Magda disappeared into the ocean with dried-ice fog being projected from the stage floor, all I could do was sit there in silence. I loved it.”

The production had good set design (Michael Scott), beautiful costumes and excellent lighting (Mary Louise Geiger.) The choreographer (Kitty McNamee) provided the dancers with lovely steps and combinations, and the production was directed superbly by Marta Domingo whose meticulous research enabled her to work with a multitude of detailed facets to create a total vision.

BEST STAGE DIRECTION: The winners are Marta Domingo for “La Rondine” and Peter Kazaras for UCLA’s “Falstaff” and “Threepenny Opera.”

BEST PERFORMANCE BY A LEADING MALE: The winners are Vladimir Chernov in recital and Bryn Terfel in recital.

I suppose that I should be calling these two great artists nominees and should select one winner, but I am unable to do that since each singer was unique and stunning in a different way.

Regarding Vladimir Chernov, I wrote: “My mind was in the heavens while I sat there in Schoenberg Hall listening, because I was hearing an artist whose central core was dispersing emotion that reached from the tips of his fingers and toes to his smooth, rich chocolaty baritonal tone. . . . Chernov’s UCLA students were able to experience first hand how voice, technique, acting, interpretation and musicianship can combine to create a complete artist in performance.”

As for Bryn Terfel, I wrote: “He is a star. And part of the phenomenon results from his ability to sing opera, Lieder, art songs and crossover music with equal precision. First off, his speaking and singing voice are technically flawless and resonant. . . . Thus he can sing light or dark at will . . . so that every tone sounds natural and easy to deliver. This naturalness enables him to move effortlessly from opera to Broadway to crossover.”

BEST PERFORMANCE BY A LEADING FEMALE: The winners are Adrianne Pieczonka, Frederica von Stade, and a special commendation to Juliana Gondek.

First off, in my review of “Tosca,” I wrote that Adrianne Pieczonka needed to develop her character so that more despair was evident in her actions. Yet I wrote: “Adrianne Pieczonka was a vibrant, full-voiced Tosca who reached the height of tonal excellence throughout the performance and during her much anticipated aria, ‘Vissi d’arte.’ It is her tonal excellence that I am acknowledging here.

Next: I always love seeing and hearing Frederica von Stade. Regarding “Pauline Viardot and Friends,” I wrote that von Stade sang with “charm and tonal purity.” When I heard her at the Terrace Theater in Long Beach in March, she continually brought a smile to my face. Whether singing Schubert, Fauré, Richard Strauss, Poulenc, Copland, Bizet, Ravel, Heggie, Sondheim or Hammerstein, her voice remained agile and refined. Her audiences always fall in love with her because of her elegant presence, sense of humor and spirit.

And finally, Juliana Gondek: Ms. Gondek is a distinguished professor of voice who heads the voice division at UCLA’s Herb Alpert School of Music. I have known her in that capacity for almost two years. I knew that she has had an illustrious career as a soprano, but did not appreciate the level of her artistry until hearing her sing as part of a Polish Constitution Day concert at UCLA in May. Now a mezzo-soprano, Gondek’s voice was warm and mellow as she sang selections from Karol Szymanowski’s “Piesni kurpiowskie,” Op. 58. Her superior musicianship and artistry deserve recognition.

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

In my review of L.A. Opera’s “Tristan und Isolde,” I wrote: “James Conlon’s mastery as a conductor is always evident. He directed the Los Angeles Opera Orchestra with energy and passion so that the music soared into the highest balcony. Although barely visible in the pit, a few glances in his direction revealed a man immersed in his music, yet leading the musicians so that they could be energized as well. . . . Richard Wagner created the score, and James Conlon brought the music to life.”

BEST PERFORMANCE IN A COMPRIMARIO ROLE -- FEMALE: The winner is Karen Vuong in “La Rondine.”

I wrote: “Karen Vuong (Yvette) was a standout. Her voice was full and clear, she looked adorable in her beautifully designed period gown, and her acting was absolutely perfect. Even though her role was a small one, I found myself watching her because she was charming and brought a smile to my face. Very frou-frou French.”

BEST PERFORMANCE IN A COMPRIMARIO ROLE – MALE: The winner is Eric Halfvarson in “Otello.”

Eric Halfvarson is not a comprimario type of person, but regarding Los Angeles Opera’s “Otello,” I wrote: “There can be no denying it: Bass Eric Halfvarson (Lodovico) has a first-class voice that always makes him a standout, even though this role was not one of his largest. The quality of his deep burnished tone evoked a welcome sound. We want more of the same, please.”

BEST ASPIRING NEWCOMER – FEMALE: The winner is Angel Joy Blue.

I attended Angel Blue’s master’s degree recital at UCLA and have heard her repeatedly as a participant in Los Angeles Opera’s Domingo-Thornton Young Artist Program. She outdid herself when singing Dvorák’s “Song to the Moon” from “Rusalka” in a concert presented by the West Los Angeles Symphony. She has a bright future as a significant recitalist and opera singer.

BEST ASPIRING NEWCOMER – MALE: The winner is David Lomeli.

David Lomeli has been a member of Los Angeles Opera’s Domingo-Thornton Young Artist Program for the last two years. He was awarded first prize in the 2006 Operalia competition and is beginning to make his debut at some of greatest opera houses in the world. I have enjoyed watching him grow and believe that he is a great tenor in the making. Just listen to him sing “Nessun Dorma” on YouTube.

I have written about Marta Domingo’s dedicated direction of “La Rondine.” But I must also note Peter Kazaras.

In fall 2007, a friend of mine took me to see UCLA’s “Falstaff.” I hadn’t attended a university production in years and was amazed at the talent. What also amazed me was the inventive manner in which the students were directed. With many having limited acting experience, their performances were fresh and full of the energy that some professional singer-actors lack. In the spring I saw “Threepenny Opera.” Once again, the director’s ingenuity with stage directions and blocking was creative and imaginative. He communicated his intent to the students, and they were able to take his lead. Kazaras is a significant director.

East Coast and Lyric Opera, Chicago,