Interludes

VIEWPOINTS – Memorable holiday performances at Lincoln Center: THE NUTCRACKER, CELEBRATING SONDHEIM, DER ROSENKAVALIER

• By drediman
• January 3, 2020
• No Comments

Over the past few weeks, Lincoln Center provided some iconic entertainment, befitting the holiday season and the storied performance arts complex.

Megan Fairchild in New York City Ballet’s production of “The Nutcracker” by George Balanchine at the David H. Koch Theater. Photo by Kolnik.

At the David H. Koch Theater, I caught two performances of New York City Ballet’s classic annual production of The Nutcracker by George Balanchine. At the first performance (RECOMMENDED), a solid but somewhat generic Indiana Woodward (replacing an unfortunately indisposed Maria Kowroski) led the way as Sugarplum, with the stylish Anthony Huxley as her Cavalier. That performance also boasted a fine introduction to the strikingly statuesque Ashley Hod as Dewdrop. It was the second visit (HIGHLY RECOMMENDED), however, that elevated the arguably definitive staging to ecstatic heights. That performance showed off senior principal dancer Megan Fairchild to breathtaking effect as Sugarplum, a role perfectly suited to her ideally-proportioned physique and sprightly dance ability. In recent years, her dancing has attained a certain gravitas and confidence that has caught dance fans off guard. Her performance in this season’s Nutcracker was light, expansive, and altogether spellbinding – and maybe the best I’ve ever Ms. Fairchild. The performance also included a sturdy Gonzalo Garcia as the Cavalier and Erica Pereira as an effortless Dewdrop. All in all, it’s always a pleasure and a tradition to visit this beloved production.

Bernadette Peters and Katrina Lenk in “Celebrating Sondheim” performed by the New York Philharmonic at the David Geffen Hall.

Then over at the David Geffen Hall, I attended the New York Philharmonic’s sold out one-night-only New Year’s Eve concert, which celebrated the music of Stephen Sondheim (HIGHLY RECOMMENDED). The program – which was entitled Celebrating Sondheim and consisted of orchestral suites from a variety of his shows – was hosted by the luscious, forever young Bernadette Peters (a longtime Sondheim muse). It was an intriguing evening, which ultimately proved satisfying. One of the big appeals of Sondheim musicals are the incomparable lyrics. Without them, I worried that the concert would come across as somewhat lopsided. However, the fascinating new arrangements and orchestrations – largely by Don Sebesky and Michael Starobin, but also by Sondheim’s legendary collaborator Jonathan Tunick – made me listen to the master’s musical compositions anew, particularly with respect to the composer’s resourcefulness and deep knowledge and understanding of various musical traditions. The 90-minute evening also included vocal renditions of two wonderful songs from Follies (“Losing My Mind”, “Could I Leave You”) by the gorgeous, sinuous Katrina Lenk. Always the instinctive, distinctive actress, she infused the songs with a seductive old world cabaret glamour that sets her interpretations apart from the more generic “Broadway”-type renditions of the classic songs I’ve typically experienced in the past. Given the preview, I cannot wait for Ms. Lenk’s performance as “Bobbie” in the spring revival of Company on on the Great White Way.

Camilla Nylund and Magdalena Kožená in “Der Rosencavalier” at the Metropolitan Opera. Photo by Karen Almond.

Last but not least is the revival of Robert Carsen’s 2017 staging of Richard Strauss’s Der Rosenkavalier (HIGHLY RECOMMENDED) for the Metropolitan Opera, an altogether revelatory production which updates the action to 1911 Austria (just before World War I, at the time of the opera’s premiere). I swoon at any opportunity to catch the opera, in my opinion the pinnacle of the art form. Richard Strauss’s score is a wonder, both daringly old fashioned yet infused with painterly expression and exquisite reflection. And although the libretto by Hugo von Hofmannsthal can veer awfully close to creaky territory (particularly the work’s potentially labored comedic segments), Mr. Carsen’s detailed production smartly avoids heavy-handedness, which was especially evident in the inspired staging of the sometimes problematic third act. The current revival features some of the strongest acting I’ve seen at the Met – even if some of the singing isn’t as pristine as the starry 2017 cast – and is led by a heartfelt performance by soprano Magdalena Kožená as the young, passionate Octavian. Reprising his sensational, scene-stealing performance as the boorish Baron Ochs is bass Günther Groissböck, whose star turn is one of the most memorable I’ve seen at the mighty opera house in recent seasons. As the Marschallin, soprano Camilla Nylund is affecting, wistfully and convincingly conveying the regal character’s world weariness. Also, a real find is the sparkling soprano Golda Schultz as the ingenue Sophie.  But perhaps the biggest draw of the revival is the rare chance to hear the great Sir Simon Rattle (who is married to Ms. Kožená) conduct the score, which he does ravishingly – never overpowering the singers and admirably maintaining the dramatic momentum of the opera (not an easy task for an opera pushing four-and-a-half hours).

THE NUTCRACKER
Dance
New York City Ballet / David H. Koch Theater
2 hours (with an intermission)
Through January 5

CELEBRATING SONDHEIM
Concert
New York Philharmonic / David Geffen Hall
1 hour, 30 minutes (without an intermission)
Closed

DER ROSENKAVALIER
Opera
The Metropolitan Opera House
4 hours, 20 minutes (with two intermissions)
Through January 4