Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.

Insights on Mahler Lieder, Wigmore Hall, Andrè Schuen

At the Wigmore Hall, Andrè Schuen and Daniel Heide in a recital of Schubert and Mahler’s Lieder eines fahrenden Gesellen and Rückert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.

Ermelinda by San Francisco's Ars Minerva

It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).

Wozzeck in Munich

It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie’s reading from the Bible, Wozzeck’s demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.

Korngold's Die tote Stadt in Munich

I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone’s work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.

Exceptional song recital from Hurn Court Opera at Salisbury Arts Centre

Thanks to the enterprise and vision of Lynton Atkinson - Artistic Director of Dorset-based Hurn Court Opera - two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury’s prestigious Art Centre.

Lohengrin in Munich

An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King’s Herald.

Hansel and Gretel in San Francisco

This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.

An hypnotic Death in Venice at the Royal Opera House

Spot-lit in the prevailing darkness, Gustav von Aschenbach frowns restively as he picks up an hour-glass from a desk strewn with literary paraphernalia, objects d’art, time-pieces and a pair of tall candles in silver holders - by the light of which, so Thomas Mann tells us in his novella Death in Venice, the elderly writer ‘would offer up to art, for two or three ardently conscientious morning hours, the strength he had garnered during sleep’.

Philip Glass's Orphée at English National Opera

Jean Cocteau’s 1950 Orphée - and Philip Glass’s chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.

Rapt audience at Dutch National Opera’s riveting Walküre

“Don’t miss this final chance – ever! – to see Die Walküre”, urges the Dutch National Opera website.

Sarah Wegener sings Strauss and Jurowski’s shattering Mahler

A little under a month ago, I reflected on Vladimir Jurowski’s tempi in Mahler’s ‘Resurrection’. That willingness to range between extremes, often within the same work, was a very striking feature of this second concert, which also fielded a Mahler symphony - this time the Fifth. But we also had a Wagner prelude and Strauss songs to leave some of us scratching our heads.

Manon Lescaut in San Francisco

Of the San Francisco Opera Manon Lescauts (in past seasons Leontyne Price, Mirella Freni, Karita Mattila among others, all in their full maturity) the latest is Armenian born Parisian finished soprano Lianna Haroutounian in her role debut. And Mme. Haroutounian is surely the finest of them all.

A lukewarm performance of Berlioz’s Roméo et Juliette from the LSO and Tilson Thomas

A double celebration was the occasion for a packed house at the Barbican: the 150th anniversary of Berlioz’s birth, alongside Michael Tilson Thomas’s fifty-year association with the London Symphony Orchestra.

Mahler’s Third Symphony launches Prague Symphony Orchestra's UK tour

The Anvil in Basingstoke was the first location for a strenuous seven-concert UK tour by the Prague Symphony Orchestra - a venue-hopping trip, criss-crossing the country from Hampshire to Wales, with four northern cities and a pit-stop in London spliced between Edinburgh and Nottingham.

Rigoletto past, present and future: a muddled production by Christiane Lutz for Glyndebourne Touring Opera

Charlie Chaplin was a master of slapstick whose rag-to-riches story - from workhouse-resident clog dancer to Hollywood legend with a salary to match his status - was as compelling as the physical comedy that he learned as a member of Fred Karno’s renowned troupe.

Rinaldo Through the Looking-Glass: Glyndebourne Touring Opera in Canterbury

Robert Carsen’s production of Rinaldo, first seen at Glyndebourne in 2011, gives a whole new meaning to the phrases ‘school-boy crush’ and ‘behind the bike-sheds’.

Predatory power and privilege in WNO's Rigoletto at the Birmingham Hippodrome

At a party hosted by a corrupt and dissolute political leader, wealthy patriarchal predators bask in excess, prowling the room on the hunt for female prey who seem all too eager to trade their sexual favours for the promise of power and patronage. ‘Questa o quella?’ the narcissistic host sings, (this one or that one?), indifferent to which woman he will bed that evening, assured of impunity.

Virginie Verrez captivates in WNO's Carmen at the Birmingham Hippodrome

Jo Davies’ new production of Carmen for Welsh National Opera presents not the exotic Orientalism of nineteenth-century France, nor a tale of the racial ‘Other’, feared and fantasised in equal measure by those whose native land she has infiltrated.

Die Zauberflöte brings mixed delights at the Royal Opera House

When did anyone leave a performance of Mozart’s Singspiel without some serious head scratching?

OPERA TODAY ARCHIVES »

Performances

02 Jan 2005

Britten's A Midsummer Night's Dream at De Munt, Brussels

© Johan Jacobs De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an...


© Johan Jacobs

De Munt's Christmas production plays into high summer and it is magnificent to behold. Scottish director David McVicar is somewhat of a cult director in Antwerp and Brussels. In Antwerp he directed a fine Idomeneo and an unforgettable Contes d'Hoffmann (later reworked for Salzburg), fully respecting the original intentions while in Brussels he did a spectacular and updated Agrippina and a dark and brooding Don Giovanni. Though he is now one of the happy few directors wanted all over the world he nevertheless often returns to this country. McVicar has one overriding obsession: he wants to tell a good story and he wants to tell it clearly. He doesn't like humbug and clearly speaks out when he sees it. Of Robert Wilson's Aida (also premièred in De Munt and later given at Covent Garden) he says: " "they are constructing something on the scene while a sound track of Aida is running" ; a pronouncement that more or less corroborates with the opinion of the Aida (Norma Fantini) who called it "Aida in Tokyo".

Well, McVicar delivered the goodies. This was Midsummer Night's Dream as Shakespeare probably would have loved to see it and never saw it as the technical means and the money at his disposal were infinitely smaller. In an interview after the performance I read that the play is performed on a giant attic of a big English country house and that came somewhat as a surprise to me. The lightning (Paule Constable) and the scenery were so ingenious (Rae Smith) that I took it for a wood, be it one without too many leaves. And with the rising costs of garbage collection nowadays, one often finds seats and all kinds of props in our few woods. The whole looked rich and sumptuous and gave a wonderful idea of a fairy tale: somewhat like Disney with style. So did the costumes of the many performers (Smith too) and it was a joy to see fairies instead of giant bees or spiders or the nowadays popular cliché of clowns.

McVicar likes his singers to think with him and to have the same attitude towards telling a clear story though he had some stiff demands to made upon the cast (he likes to meddle with casting). Puck (David Greeves) didn't only have to sing and to act but to perform some difficult acrobatics high in the sky as well. Oberon can lengthen and shorten his height in the best fairy tale tradition and I admired Michael Chance who quietly and assuredly continued singing while his legs were lengthening with some 14 feet.

The big cast was lead by bass-baritone Laurent Naouri as Bottom. He doesn't like his wife to use her influence and I wish she would. It needn't end in a Sutherland-Bonynge or Freni-Ghiaurov blackmail but Naouri is a very fine singer whom I'd like to hear more in his native repertory where he could take over José van Dam's sceptre. He failed in his Met audition several years ago and I think the Met would do well to give him a second chance instead of only engaging Madame Naouri-Dessay. As he studied at the Guildhall in London his voice freely rang out in the verses culled from the original play. Laura Claycomb was the sensuous Tytania though I think the part is somewhat low for her high coloratura soprano. Countertenor Michael Chance as Oberon didn't endear me to his kind of voice as his sounds were weak and unfocused. All other artist performed worthily. Special mention must be made of the youth choir of De Munt. Strengthened by a few other choirs they sang and acted their heart out and either McVicar worked wonders with them or otherwise they are all headed for a big career on the scene due to their innate talent. Ivor Bolton was the careful conductor of the splendid sounding orchestra.

And so we come to the main drawback in my eyes and especially my ears. Frankly, I don't think that Britten's score deserves such a splendid and costly production. By 1959 the composer was probably tired of criticism that he was old-fashioned, that only movie composers employed tonality and he tried to prove his detractors he too was a modern composer. 45 years later this only results in a far too heavy orchestration always dominated by the woodwinds, all kinds of drums, bells and timpani resulting in a lot of dissonance. The original play was reduced to one third but the original words were used in the libretto. Due to all the noise Shakespeare is in for a heavy drubbing. This reviewer who is a former teacher of English was not able to understand more than a few sentences from the female performers. The men as always could be understood somewhat better as they had a lot of sprechgesang but still spectators without the ability to read either the Dutch or French surtitles wouldn't know what the fuzz on the scene was all about. Britten never was a prolific tune-smith ("Young man, don't you think I would have written some fine melodies if I had had Verdi's talents" he remarked in 69 when I was complaining of lack of melody in his works). Only at the beginning and end of each act that Britten allows himself some lyric utterances but for the rest it is often a trip through the desert.

Jan Neckers

[Click here for additional information on this production.]

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):