Press

From The Honolulu Star-Advertiser

“Tosca” is known for its melodramatic love story, but it endures because of its core theme, a tug-of-war between piety and passion.

In a nutshell, the devout and passionate Floria Tosca is in love with the painter Cavaradossi, but is pursued by the depraved chief of police, Baron Scarpia. Within that triangle, the primary relationship and dramatic tension lie between Tosca and Scarpia. Cavaradossi serves as the noble everyman with whom audiences can identify while watching good and evil battle it out.

Hawaii Opera Theatre’s production, expertly cast and beautifully imagined, is simply outstanding.

Aleksey Bogdanov (Scarpia) is readily believable as evil incarnate, his powerful baritone dominating scenes, bullying everyone around him. Power- hungry, corrupt, lascivious, ruled by base passions, hypocritically pious, Scarpia is an unenviable role for singers: done well, everyone hates you. Bogdanov’s performance was almost too good: his sexual predation in Act II was stomach-churningly effective and the audience applauded when Tosca stabbed him.

As Tosca, Rochelle Bard proves a match for Scarpia, and her sweet little hands, so accustomed to prayer, proved strong enough to kill. Bard’s large, rich soprano creates a sympathetic Tosca who vascillates between piety and passion.

Her delivery of “Vissi d’arte” (“I lived for art”), the climactic Act II aria when she finally gives in to passions and loses her soul, is absolutely magical. The sheer beauty of Bard’s voice, coupled with impressive control on high pianissimo notes, raises goosebumps.

Alex Boyer as Cavaradossi is a sheer delight, the perfect partner for Tosca and contrast for Scarpia. His voice’s naturally high placement and warm clarity make Boyer a great heroic tenor: the world may be cruel, but his character is good through and through, singing above it all. Boyer’s wrenching “E lucevan le stelle” (“The stars were shining”), Cavaradossi’s Act III aria when he gives up life, brought the house down.

Tall, slender bass-baritone Jamie Offenbach makes a memorable Angelotti, Cavaradossi’s friend who opens the opera by staggering on stage, haggard and bloody from escaping Scarpia’s prison. His desperation is nicely balanced by the humor Jose Adan Perez injects as the bumbling, much-put-upon Sacristan.

Of special note are Scarpia’s lackeys, adeptly sung by members of HOT’s Young Artists Program, Nathaniel Catasca (Spoletta) and John Daugherty (Sciarrone).

Lavish scenic design by David P. Gordon garners its own applause, creating distinct worlds in each act: piety and love in a cathedral; torture and manipulation in Scarpia’s offices; and finally, Act III, when the curtain opens on a timeless setting for death: castle ramparts in the foreground, representing earthly might, juxtaposed against the cathedral’s dome and open skies in the background. Towering over it all is a large statue of Archangel Michael, swords in hand to battle for our souls, appearing at the moment of death to offer a chance to repent.

Kudos to director Omer Ben Seadia, making her HOT debut, whose staging is so closely integrated with Puccini’s music, measure by measure, that the music comes to life. Scenes unfold and transition naturally, even as Seadia creates spotlight moments for each character: Tosca’s “Vissi d’arte” is a frozen moment rising out of pure silence, Cavaradossi sings “E lucevan le stelle” as an aside, out of time, and in “Gia mi dicon venal” (“They call me venal”), Scarpia traps Tosca like a spider — all very effective.

Both chorus and orchestra deliver strong, tightly integrated and nuanced performances. Conductor Emmanuel Plasson keeps the large orchestra in balance so that singers and soloists can both be heard.

One of the great joys of “Tosca” is the interplay of parts, especially when the orchestra delivers the main melody over singers’ recitative and the sweet duets — Tosca and violin, Scarpia and flute, Cavaradossi and clarinet, both hallmarks of Puccini and highlighted by Plasson.

HOT’s “Tosca” conveys piety and passion in precarious balance, delivering a dynamite opening to its 2019-2020 season.

Running time is just under three hours, with two intermissions, and the opera is appropriate for mid-teena­gers and older. The libretto for “Tosca” is condensed — every line matters — so keep an eye on the supertitles.

Ruth O. Bingham received her doctorate in musicology from Cornell University and has been reviewing the musical arts for more than 25 years.

By John Berger

Emmanuel Plasson grew up in Toulouse, France. His father was a conductor, his mother was a violinist. They both inspired his career choices. Plasson studied violin at the Guildhall School of Music and Drama in London, and conducting at the Monteux School and Music Festival in Hancock, Maine, and at the Yale School of Music in New Haven, Conn.

Plasson made his professional debut as a conductor in Toulouse in 1991. Since then he has conducted across the British Isles, continental Europe, in Australia and New Zealand, Japan and the United States.

In February, Plasson, 54, was appointed principal conductor and artistic director of Hawaii Opera Theatre. He will be wielding his conductor’s baton when HOT’s production of Puccini’s ever-popular tragedy “Tosca” opens Friday in the Blaisdell Concert Hall.

What would you like us to be watching for next weekend?

A great story, beautiful music and a terrific cast, young singers who are wonderfully motivated (with) beautiful voices. It’s a beautiful production, a little on the traditional side, but “beautiful traditional,” and we have the marvelous Hawai‘i Symphony Orchestra that I will be conducting.

How does your musical training influence your choices as HOT’s artistic director?

As a producer or artistic director you always have to respect the subject you’re working with. From there you can do a lot but you have to keep the core of it. It’s always better to come from the inside (of the orchestra) where you have the experience of the interactions between the conductor and the musicians. I feel lucky that I had this upbringing.

What challenges are you facing?

Today the opera world has to adjust itself with (competition from) the movies, with all kinds of artistic expression. We need to find new ways to exist and to be credible today and be attractive and accessible to all generations. It’s a big challenge but we are ready and we are thinking of a lot of interesting ideas.

What are some of the things you’re looking at?

I would love to present some modern contemporary American operas. I’m thinking of (operas by) Jake Heggie and Tom Cipullo — those composers are really amazing and deserve attention from us. There’s a opera called “The Shining,” based on the book by Stephen King and the film. The composer is Paul Moravec and it’s a very potent story because it’s not only a supernatural and horror story, it’s also a family story.

There have been opera companies that would not do anything by Wagner because Hitler was a Wagner fan. HOT has done Wagner in recent years so we know that’s not a problem here, but are there other “PC” issues in choosing operas these days?

Yes, because political correctness is still going far. You have certain subjects from the past that are sensitive and of course we have to negotiate that. “Tosca” is violent, but because of the beauty of the music and the singing and the powerful theatrical moments, the violence is accepted. I don’t think we should be too timid, too shy, about showing certain materials from the past, you just have to do it intelligently.

What do you like to listen to when you’re not working?

I listen to everything. Everything that has quality to it. I could listen to jazz, to rock, to pop, you name it, as long as the tune has quality (and) good chords. I need something that’s going to make me feel “That’s nice!”

FOR IMMEDIATE RELEASE

The 2019-20 HOT Opera Season starts with Puccini’s Tosca

Honolulu, Hawaii – “Desired by both, but her heart leaps for only one…” Featuring Puccini at his most romantic, Tosca is one of the most beloved operas of all time – for both its melodies and the story. It is a work adored by longtime opera aficionados but also the perfect first opera for the newcomer.

Set across the backdrop of a war torn Rome, this tale follows the love between the fiery diva Floria Tosca and the artist Mario Cavaradossi.  The evil Baron Scarpia, who lusts after Tosca, manipulates her into thinking Cavaradossi is having an affair.  In a fit of jealousy, Tosca leads Scarpia to her beloved, who has been helping to hide his friend Cesare Angelotti, a political prisoner and former leader of the Napoleon Resistance.  Hoping to save Cavaradossi from execution, Tosca strikes a deal with Scarpia that holds tragic consequence for all three. 

Rochelle Bard, hailed as “an exquisite singing actress”, makes her thrilling HOT debut in the title role alongside HOT debuts by tenor Alex Boyer as her ill-fated lover and Aleksey Bogdanov as the lustful Baron Scarpia.  The production will be led by HOT Artistic Director/Principal Conductor Emmanuel Plasson and directed by Omer Ben Seadia, also in her HOT debut.

HOT Executive Director Andrew Morgan shares, “Tosca has held a beloved place in the operatic repertory for good reason: it has it all, with a dramatic story that is sure to leave you in tears and inspired Puccini to some of his most romantic and lush writing that will stay with you for days after you experience it.”

Performances of HOT’s production of Tosca will be held at the Blaisdell Concert Hall on Oct 11, (7:30pm), 13 (4:00pm), and 15 (7:30pm).  HOT’s 2019-20 Opera Season continues with Mozart’s The Marriage of Figaro and a semi-staged production of Strauss’ Salome next Spring.

Tickets range from $29 – $130 online at Tickets.HawaiiOpera.Org or call the HOT Box Office at (808) 596-7858. Group, Military, and Student Discounts available through the HOT Box Office.

Enhance the experience by attending the HOT Opera Preview and to learn more about the opera and meet other Arts enthusiasts.

HOT Opera Preview

Oct. 2 2019 / 1:00pm

Doris Duke Theatre, Honolulu Museum of Art

Attend a special Opera Preview at the Honolulu Museum of Art’s Doris Duke Theatre, featuring background on the opera by acclaimed musicologist Dr. Lynne Johnson, followed by a Q&A session with the cast and Artistic Team of La Traviata.  Free to HOT and HoMA Members.

HOT Opera for Everyone

Oct. 9, 2019 / 7:00pm

Blaisdell Concert Hall

The final dress rehearsal reserved for students and families, Opera for Everyone is a favorite among teachers, students, parents and keiki.  Contact HOT Education for more details and to order tickets at 808.596.7372.

HOT Lanai Lectures

Oct. 11, 13, & 15, 2019, 60 minutes and 30 minutes before curtain

Ward Lanai, Blaisdell Concert Hall

A 15 minute discussion about the opera that will get you ready for the performance to follow. Free.

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Since 1961, Hawaii Opera Theatre (HOT) has served to enhance the quality of life in Hawaii by presenting opera performances of the highest standards. HOT’s educational programs for youth serve as both catalyst and active participant in the artistic education of Hawaii’s youth.  Opera for Everyone provides a special performance of each opera for a large and enthusiastic audience of students.  Opera Express takes operas specially adapted operas, into elementary and middle schools with special tours to all neighbor islands.  HOT’s Opera Residency program takes our education and production staff members into an elementary school to work with students and teachers to compose an opera production centered around curriculum components. Adult education is offered with Opera Highlights, a non-credit course at the University of Hawaii; Opera Previews, at the Honolulu Museum of Art; pre-performance Lanai Lectures on the Neal S. Blaisdell Concert Hall lanai; and other presentations at venues throughout the state.  

Honolulu, Hawaii – Hawaii Opera Theatre (HOT) presents the Act II – A Fashion Reprise Pop-Up this June at Hawaii Opera Plaza.  Featuring a new collection of items and expanded show room, this ACT II should not be missed.

Over the years, ACT II has raised over $150,000 in support of HOT.  This event provides the opportunity to shop for couture and designer apparel, handbags, shoes, jewelry, art, home accents, and more with the proceeds going to service the non-profit organization.  HOT receives the goods for ACT II from the generous donations of its Supporters.   Many of the items are brand new and still have price tags on them. 

A VIP Preview Party will be held on June 6, from 5:00pm.  Be the first to shop this collection of newly donated designer clothing and household items.  The Preview Party includes pupus & wine and attendees will receive discount coupons.  The cost to attend the VIP Preview Party is $50/person.  RSVP with HOT at (808) 596-7372. 

Space to the VIP Preview is limited. 

ACT II opens to the public on June 8 (9:00am – 4:00pm) and 9 (10:00am – 4:00pm).  The ACT II Pop-Up will be held at Hawaii Opera Plaza, Suites 306 & 307, located at 848 S. Beretania Street.  Parking is available at the building and street parking where available.

By Steven Mark, from The Honolulu Star-Advertiser, May 19, 2019

Hawaii-born baritone Quinn Kelsey might have been the main draw for many who went to see Hawaii Opera Theatre’s presentation of “La Traviata” on Friday night at the Blaisdell Concert Hall, and with good reason. When it comes to Verdi baritone roles, he is simply at the top of the game.

But everything else in this production was wonderful as well, from the singing to the acting to the classy conception. This was such a convincing production that it was easy to attach to the emotion of the story, its passion, jealousy, fury and tenderness.

Verdi’s classic is a classic tearjerker: A woman of ill repute, Violetta, meets the man of her dreams, Alfredo Germont, only to have his stuffed-shirt father, Giorgio Germont, try to break them up to protect the family’s honor. Through a series of ill-fated meetings and misunderstandings, all of them are put through a whirlwind of emotion as the story plunges to its inevitably tragic end.

Soprano Danielle Talamantes gave a tour-de-force performance as the “fallen woman” Violetta, with her clear, penetrating and rangy voice sustaining the character throughout. She was fresh and open in the opening party scene, rolling off her “r’s” with a juicy vivaciousness and lending delight and grace to the playful “Sempre Libera” aria.

It seemed that even the stage props were enchanted — at one point, a vase of flowers tilted over as she was belting out a big note.

By Act 2, Talamantes’ Violetta became passionate and vulnerable when she first meets her destiny, and by Act 3, when she is dying of consumption, Talamantes reduced her voice to a trembling vibrato that still permeated the hall with clarity and feeling.

She also had terrific chemistry with tenor Pene Pati as Alfredo, as the two engaged in some serious lip-locking that put the “hot” in HOT.

Pati, the Samoa-born tenor, made an attractive and multidimensional Alfredo. He was slick and charming with Violetta at first, and when he sings a toast at the opening party, it was like Astaire meeting Rogers: One song and you’re mine, baby. Of course, she falls for him.

Things get complicated for Alfredo in the second act. First, he was the romantic, and Pati’s warm, smooth tenor made the grade. But when he learns Violetta is spending all her money supporting their lifestyle, an urgent machismo comes over him that grows to unctuous jealousy later on as Alfredo first tangles with his father and then turns on Violetta herself.

Kelsey was no less compelling as Giorgio Germont. He is a father who wants his daughter to marry into a good family but fears Violetta, with her reputation, will ruin that chance if she continues her relationship with his son. And yet Giorgio is impressed when he meets her and she expresses her sincere love for Alfredo.

Giving his big voice a stern inflection, Kelsey could not be better suited for the role, infusing Giorgio with heart as well as pride. Both come out when he appeals to Violetta not with force, but with gentleness, showing Violetta a picture of his daughter.

All of this drama came with some nice touches. Supertitles have become a kind of necessary evil in opera: The audience needs them to understand the story, but they can be distracting when an aria repeats the lyrics. In this production, when lyrics were repeated, the supertitles were turned off, allowing the audience to sit back and relish the music.

Under the baton of conductor Emily Senturia, the orchestra meshed perfectly with the voices. Where there was crying and sobbing on stage, the phrasing of the strings provided plenty of air. And while Verdi’s score is filled with beautiful, sweeping melodies, there was never a balance problem.

Director Stephanie Havey’s crisp pacing was enhanced by ballet-like choreography, performed to the musical interludes in Verdi’s score. The audience might have been a bit confused in the beginning when two dancers opened the work, performing as Violetta looked on wistfully, but by Act 3, their reappearance made complete sense.