Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Manon Lescaut Munich : Opolais, Kaufmann

Puccini Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera. What is Manon Lescaut really about? The Abbé Prévost's 1731 narrative was a moral discourse. Unlike many modern novels, it wasn't a potboiler but a philosphical tract in which the protagonists face moral dilemmas

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

Montemezzi: L’amore dei tre Re

Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high. 

Prom 4: Andris Nelsons

The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.

BBC Proms: The Cardinall’s Musick

When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.

Oberon, Persephone and Iolanta at the Aix Festival

Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.

Betrothal and Betrayal : JPYA at the ROH

The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.

Jenůfa Packs a Wallop at DMMO

There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.

Des Moines Fanciulla a Minnie-Triumph

The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.

First Night of the BBC Proms 2015

First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.

Monsters and Marriage at the Aix Festival

Plus an evening by the superb Modigliani Quartet that complimented the brief (55 minutes) a cappella opera for six female voices Svadba (2013) by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada.

Des Moines: A Whole Other Secret Garden

With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.

Seductive Abduction in Iowa

Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.

A Midsummer Night’s Dream, Garsington Opera

Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).

Richard Wagner: Tristan und Isolde

What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.

Debussy: Pelléas et Mélisande

So this was it, the Pelléas which had apparently repelled critics and other members of the audience on the opening night. Perhaps that had been exaggeration; I avoided reading anything substantive — and still have yet to do so.

OPERA TODAY ARCHIVES »

Performances

04 Apr 2005

Albert Herring/Eugene Onegin/Genoveva in Boston

I ended last week with three very different operas here in Boston. On Thursday, the Boston Conservatory of Music put on a nicely designed, lovingly directed production of Britten’s Albert Herring. Based loosely on a Guy de Maupassant short story Albert sends up English small town blue stockings who stage an annual May Queen pageant, finding themselves unable to find a young woman of acceptable virtue in the immediate area. Their choice falls on a May King in the person of Mamma’s boy Albert Herring who is mortified by the whole experience. Albert proceeds to use the cash part of his prize to go off on a toot, stay out all night to return home a happier, wiser and far more independent young man, to the chagrin of all.


A View of Boston

A Tale of Three Operas

I ended last week with three very different operas here in Boston. On Thursday, the Boston Conservatory of Music put on a nicely designed, lovingly directed production of Britten's Albert Herring. Based loosely on a Guy de Maupassant short story Albert sends up English small town blue stockings who stage an annual May Queen pageant, finding themselves unable to find a young woman of acceptable virtue in the immediate area. Their choice falls on a May King in the person of Mamma's boy Albert Herring who is mortified by the whole experience. Albert proceeds to use the cash part of his prize to go off on a toot, stay out all night to return home a happier, wiser and far more independent young man, to the chagrin of all.

The sets were inspired by Victorian photographs, the costumes were satisfyingly full of high Victorian frou-frou, Lady Billows even had a most appropriate Victorian figure. David Powell who sang Albert possesses a high, clear, sizeable lyric tenor and admirably clear diction. The orchestra did well by the score under Bruce Hangen's buoyant direction.

On Friday, the second Boston Lyric Opera performance of Eugene Onegin was a study on the depths of romantic passion. Stephen Lord ignited a deeply felt, exciting performance. In the pit, horns and trumpets had a very good night and everyone on stage and in the pit appeared to be "on."

Designer Bruno Schwengl and director James Robinson created a lovely romantic world backed by a stand of tall white birch with furniture and props as required. The look had almost certainly been influenced buy the current MET production (Mme. Larina's party featured an oval of chairs within which the guests gossiped and danced, and very little else, for example) but had much to say on its own. Robinson made a point of linking Tatyana and Lensky as equal victims of Onegin's alienated inability to feel or give in a relationship. She had always with her the romantic novel and he had always his little notebook; during the cotillion when the chorus was focused on the off-stage dancers, only Tatyana and Lensky were left in the oval of chairs, each nursing hurt inflicted by Onegin. A wonderful touch was to have the servant girls hang out a laundry of white bed sheets to dry on the way to picking berries and for Tatyana to hide among them in panic at Onegin's approach. After shooting Lensky dead in the duel, Onegin bowed formally to the two seconds, carefully picked up and brushed off his coat and hat and strode coldly from the scene as if nothing disturbing had happened.

Schwengl's costumes were richly detailed, flattering and sharply distinguished as to class and character. As with the emotions of the principals, white and black predominated, white in acts one and two, funereal black in act three. Not all of the action was "realistic." Some was poetic and indicative of the psychological situation of the characters at any one time. When Tatyana enters in the final scene she comments that she feels again like a young girl waiting in panic for Onegin and breaks the face of a table clock as if time no longer exists.

The cast was a strong one. Maria Kanyova's slender, angular body and features suited a still gawky teenager perfectly. Her wide-ranging voice, secure top and slightly Slavic sound sounded fin in the music and she tore into the phrases with passion or a lovely delicacy as required. She has remarkable dynamic control. Garrett Sorenson's Lensky was probably the favorite of the audience. The upper middle and top of his voice have a brilliant spin and freedom that create a satisfying buzz in the ears and he phrases beautifully. The lower middle and bottom are not yet fully developed and need work, but his potential would seem to be enormous as there is no sense that the voice has been overused or abused in any way, and the basic sound is very beautiful. Completing the main trio, Mel Ulrich has the vocal color and affect for the anti-hero. A bit more power in the biggest moments would be welcome but he didn't force or distort the line at any time and the voice is all of a piece from top to bottom.

Dorothy Byrne and Josepha Gayer worked well together as Larina and Filipyevna. Both have strong lower ranges and their opening scene registered sistinctly against the off-stage duet of the two girls, something that does not always happen. John Cheek's Gremin had warmth and dignity but his voice has dried significantly and a persistent unsteadiness undermined the first part of the aria that is essentially his whole part. Because the lowest notes are still solid and full, he concluded successfully. Elizabeth Batton's vibrant mezzo and volatile personality worked well for Olga. Frank Kelley either decided to sing Triquet with a clinical depiction of a very old man's voice or is losing breath and solidity of tone. Either way, legato suffered and there were many intrusive breaths in the middle of lines.

On Saturday night a real novelty--Robert Schumann's Genoveva, produced in concert by Emmanuel Music in an effort to show that the opera is viable musically and dramatically and deserves revival. A similar effort for Schubert's Alfonso und Estrella a couple of years ago only pointed up the static nature of that pretty but unexciting work, but Genoveva is something else again. Schumann unquestionably knew how to shape a scene and, at the same time that Wagner premiered Tannhauser in Dresden, was experimenting with monologs that developed from or segued into scenes, rather than producing a string of closed form arias. The prelude to the final act prefigures the feeling if not the harmonies or chromaticism of the third act of Tristan.

In structure, Genoveva seems to have looked to existing works for some guidelines. Once the gender of the rescuer and the rescued is reversed, act four is structured exactly like the second act of Fidelio. Genoveva is led to a desolate place to be secretly executed by two minions of the villianous Golo; a hunting horn fanfare alerts them to the arrival of her husband, who frees her; the set then changes to the first scene of the opera where a local official (baritone) and a jubilant chorus greet the couple and praise their heroic qualities.

James Maddelena's baritone has become darker and more powerful over his long career and sounded wonderful as Count Siegfried. As his wife Genoveva, Sara Pelletier created a most attractive character with her shimmering lyric soprano and lyrical phrasing. Frederick Urrey handled Golo's high tenor lines with ease after a bit of a warm-up period and Krista River made the most of the sorceress Margaretha in whom the program notes see a prefiguration of Klingsor. The role would probably benefit from a more dramatic voice than Ms River's smoothly lyric one but in a moderately-sized venue she was able to score all the necessary points. David Kravits gave strong support in tow roles. Veteran conductor Craig Smith got warmth and passion out of his cast, chorus and orchestra. The audience's reaction to the opera built steadily all evening, ending in genuine enthusiasm. Genoveva is viable indeed.

William Fregosi

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):