Reading between the lines of the major operatic event
By: Polina Lyapustina
Tags: Opera, Culture, Essay, Music, Classical Music

Reading between the lines of the major operatic event

OperaWire Editorial: Repertory Stagnation, Star Power & What We Can Learn About the Opera Industry From Rolex Ambassadors Gala

Sonya Yoncheva — Soprano

Juan Diego Flórez — Tenor

Jonas Kaufmann — Tenor

Yuja Wang — Pianist

Wiener Philharmoniker

Plácido Domingo — Conductor

Gustavo Dudamel — Conductor

23rd of June 2019

This review originally appeared on Operawire.com on the 24th of July 2019.

A prestigious showcase of the opera world, the Rolex Ambassadors Gala, took place at La Scala earlier this month. Big names and outstanding performances. A unique opportunity to see the stars of the opera world together: Juan Diego Flórez, Jonas Kaufmann, Sonya Yoncheva, Yuja Wang, Plácido Domingo and Gustavo Dudamel conduct Wiener Philharmoniker.

But today, I’m not going to review it. After so much time, that’s not really necessary. Instead, I want to draw your attention to what we can see behind the big names and all the splendor. The Rolex Ambassadors Gala is very indicative, and you can learn a lot about the ongoing state of the opera industry if you read between the lines.

Photo from La Scala official press-release

Repertory Stagnation

Let’s start with the obvious. It was obvious that an overture would open the concert, as are my observations on repertory stagnation. In this case, it was the overture from “La Forza del Destino,” which shouldn’t be surprising — it was Verdi at La Scala. It couldn’t get more obvious than that. After this, I could easily predict three other pieces that would be performed: “La Forza…” (again!) for Jonas Kaufmann, who recently had a long run of this opera at ROH; a Donizetti or Rossini aria for Bel canto star Juan Diego Flórez; and “Tosca” for Sonya Yoncheva, the diva who canceled her performance of Puccini in Paris earlier this June. I swear that I didn’t check the program beforehand, but I guessed all three. Another piece of music that I didn’t even need to predict was “Libiamo, ne’ lieti calici” at the end. There were also arias from “Otello”, “Romeo and Juliet” with the most “obscure” pieces of music coming from such operas as “La Juive” and “L’Amico Fritz.” That’s it.

Despite being in the 21st century, we still live in the world of Verdi, Wagner, Puccini, Mozart, Rossini, Tchaikovsky, and Donizetti. But Bel Canto and Romanticism are not the whole opera world. And when we hear something new, we freeze with mixed feelings of interest and fear. I don’t say, other old and even contemporary composers aren’t performed or the audience isn’t aware of them. I just ask what do you recall, thinking about opera? I think that this is what defines opera for most audience members — an art form where we continue to venerate creators of the past, not the present and possibly not even the future.

This recurrence always makes me think about the audience’s preferences. I assumed that musicians preferred to satisfy rather than educate or discover something new at such events. Gustavo Dudamel is a young star conductor. He has a vivid perspective and he immerses himself into his interpretations. But here he chose Verdi. Verdi is great. But you know, I think Dudamel is more than someone’s greatness. Of course, he did his best, but if I want to showcase myself as a unique young conductor to a European audience that is still getting to know me, I would hit them with an original perspective. But Gustavo Dudamel’s choice was more likely a gesture of solidarity with La Scala and the audience. “If he can’t fight off this repertory stagnation, who can?” I thought.

Priorities

Let’s talk more about the audience. They were still mostly aged. They were either privileged or superheroes who succeeded to get their tickets in less than four hours after the start of sales. They gathered here from all over the world (or at least Europe). And they knew exactly what they wanted. They were excited to see their favorites, who canceled numerous performances recently. They were led by their expectations, so they welcomed Jonas Kaufmann with greater applause than they gave to amazing pianist Yuja Wang. No matter how brilliant the piano performance was, it was just a warm-up. The fact that Kaufmann just appeared on stage was more valuable for the public than the entire first act.

There was another part of the audience who watched the concert via a free live stream. The opera world needs new, younger spectators. The trend of making high-rank opera events available worldwide for free is really important. Some new services like Operavision popped up in recent years. They compete with old players like medici.tv or Arte, which still have some geographical or subscription limitations. The Rolex sponsorship gives Medici an opportunity to fight for the audience with the help of big names.

Opera is expensive. And we all know that even the most expensive tickets cannot pay the price of the production. And the transmissions give an additional cost. So, sponsors are important.

And when such a major patron as Rolex organizes a concert, it certainly puts some pressure on singers. Even on such great singers as those who performed that night.

I can only guess about Sonya Yoncheva’s state that evening, but the fact remains — the soprano has canceled everything of late. Everything, that is, but the Rolex Ambassadors Gala. The same goes for Jonas Kaufmann. This question is a controversial one and reveals some painful issues about the industry and cancelations. Why does it look like sponsors are more important than the audience? Why do our expectations ruin the performance if anyone cancels? Who can cover Jonas Kaufmann? Do you remember the times when there were no names of singers on the posters?

From medici.tv

That night, they were all there. A bit tired, but still at their best or at least managed to show it convincingly. For Jonas Kaufmann, it was especially important. Paris and Vienna will remember his absence for years, but fortunately, the La Scala audience is international. So it was a good opportunity to defuse the situation.

Yet Europe is not like the US, and the audience forgives easily and treats their beloved artists greatly. They certainly talk and criticize, but they sell out a show in a few hours. Once in love, they are loyal and true.

That night they were true to Plácido Domingo. They didn’t really care if he would sing or conduct. And you could feel and hear that at the concert. They treated him like a genius and there was no doubt that in their hearts, Domingo was the star, even in the pit. Dudamel, so loved in America, was, as the audience expressed, just another good, conductor. His performance was stunning, but he was undeniably number two on this evening. With Domingo, his work was beyond reproach. Plácido Domingo is a Star, a Name. And this is enough. But is this fair? To put two conductors on stage and treat them differently because of their names, not their performances. It’s nothing new, though. But witnessing it once again I felt somewhat disappointed.

And yet, it was great to see what Maestro Domingo brought to the performance. Pietro Mascagni’s rare Intermezzo from “L’Amico Fritz” was his piece, and it was brilliant. I found it a perfect and quite original choice for the opening of the second part, which represented a conductor fit for the occasion, and pleased the audience.

It was a different matter when Domingo faced Kaufmann’s understanding of “La Forza del Destino.” It never worked out properly. It was unusual for me to witness this collision, which could probably happen because they relied on their previous experiences way too much. Jonas Kaufmann followed his own perfectly expressive line while Domingo led the orchestra way in a smoother manner. I thought about how they felt hearing it happen, though, they never looked unhappy with each other. They were okay with it, at least personally.

Encores

Talking about personal moments, we came to the end — the encores. This part of the concert is always reflective of the singer’s career statement. The choices he or she makes here often comes from the heart. Or sometimes from the record label.

We had both.

From medici.tv

“Are you having fun? There’s some more to come.” Juan Diego Flórez was the first to give an encore. He sang a Mexican song with a guitar. It seemed very simple and natural. I remembered Rolando Villazón’s concert of Spanish songs in Paris this May. The national heritage is a noble thing to share. It is soulful and familiar and also bestows a wide voice range for tenor. It is always a good idea to entertain by educating and sharing some personal music.

Jonas Kaufmann was joking in three languages. He performed a song from an operetta. That looked quite natural, I thought operetta could be a good way to relax. But it was also performed in anticipation of Kaufmann’s new operetta album, which was recently announced. Sony always has a clear plan.

Sonya Yoncheva chose “Ô Paris, gai séjour de plaisir” and seemed to apologize for the cancellation at the Bastille. I found it somewhat comic. But many a true word is spoken in jest. This year hasn’t gone smoothly for soprano in terms of her scheduling and the cancelations she has made due to her pregnancy. We talk a lot about women’s rights, but here’s a case of a woman’s choice and its effect on the opera industry. What does it mean for a star soprano to withdraw from the stage for at least a half of a year?

The audience would still discuss this concert for a few weeks. Was it great? Definitely. Could it be better? Certainly. Stars fulfilled their duty. The public got another checkmark in their bucket lists.

And I got my conclusions. Names. Expectations. Voices. Duties. Repertoire. Rights. Melodies. Decisions. Labels. Visions. Sales. Good and bad, mixed and collapsed. I felt like I peered through the looking glass and saw a reflection of the whole opera world. The world where I belong. So familiar, with all those wrinkles, imperfections, and the beauty. And I recall many different performances where I’ve seen and talked about these issues before. I find it important to improve what we have. To analyze and to conclude.

But there’s another crucial thing to do — to enjoy. The industry, for sure, has its problems, but it exists as long as we can simply enjoy what we hear and see.