Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

OPERA TODAY ARCHIVES »

Reviews

Heinrich Marschner: Hans Heiling
14 Oct 2005

MARSCHNER: Hans Heiling

This Dynamic set spills over with rewards for opera lovers, especially those looking for something a little (or a lot) off the beaten path.

Heinrich Marschner: Hans Heiling.
Libretto by Eduard Devrient.

Marcus Werba, Anna Caterina Antonacci, Herbert Lippert. Orchestra, Coro e Coro di voci bianche del Teatro Lirico di Caligari, Renato Palumbo (cond.).

Dynamic 33467 [2DVDs]

 

First is the repertory item itself. Heinrich Marschner’s career bloomed in the years between Beethoven and Wagner. Mendelssohn dominated this time; in fact, the libretto for Hans Heiling was offered to Mendelssohn before it came to Marschner. Premiered in 1833, the opera succeeded, but Marschner’s career dimmed afterward, and this and Das Vampyr remain beguiling curiosities.

Pier Luigi Pizzi designed and directed this production for the Teatro Lirico di Caligari. As captured by Dynamic’s cameras, the sets most effectively capture the underworld origin of the title character, a half-human, half-supernatural being who lives with his mother, the Queen of the Gnomes. Painted backdrops serve to both establish the geographical reference and to place the work in a romantic, non-naturalistic frame, entirely appropriate for the work. The main physical setting looks like a cooled lava-overflow; later scenes, set in the human world, rely more on the backdrops than on props.

Heiling opens the opera bored with his underworld existence and pining for a woman. His mother warns him to stay with his own kind, but Heiling leaves to romance Anna, a young woman whose mother is most impressed by Heiling’s wealth. Unfortunately, Anna already loves a local boy, Konrad. Pressed by her mother, she agrees to marry Heiling, but when the gnome realizes that her heart belongs to another, he lashes out at his rival. Finally he realizes that he could never be accepted into the human world and descends to his home and mother, leaving Anna and Konrad to temporal bliss.

How the opening scene must have struck Wagner, who surely saw the opera. A sort of funhouse mirror reflection of Alberich in Rheingold, Heiling is bored with the treasures of the gnomes and feels that only an amorous connection with a human female can make him happy. Eduard Devrient’s libretto prefers long monologues delineating states of mind to conventional story telling, and a static, even awkward narrative probably presents the real stumbling block to Marschner’s opera finding a home in today’s opera houses. Brief spoken dialogue links some of the set pieces.

But the music! The opening scene’s eerie children’s chorus of gnomes establishes Marschner’s command of mood, and though none of the melodies remain long in one’s head, they have an originality and complexity of development that more than compensates.

And Dynamic has assembled a worthy cast to give the music the performance it deserves. Markus Werba is youthful and attractive both in appearance and voice, and his Heiling presents a charismatic figure in the depressed-bad-boy mode. In fact, many a viewer may wonder what Anna Caterina Antonacci’s Anna sees in the bland, chubby Konrad of Herbert Lippert. However, Werba is done no favors by the red tights of the opening scene. He makes a more impressive figure in a white suit donned for his visit to the surface world.

Anna Caterina Antonacci’s career appears to be taking off, and here is great evidence for why. A truly striking woman, she sings with great precision and control, although the top can be tentative. Her long scene that opens act two is almost worth acquiring this set by itself, as Antonacci delineates the confused emotions of Anna. The character, unfortunately, grows more conventional as the opera proceeds, but Antonacci has the ability to hold our interest even when she is not singing.

The rest of the cast do well enough, though Gabriele Fontana’s Konigin suggests that immortality inflicts some wear and tear on the voice.

The final reward of this set is the strong leadership of Renato Palumbo. He infuses the score with passion and color, indicating the strengths that have just led to his appointment as replacement to Christian Thielmann at Deutsche Oper Berlin. Still relatively youthful, this conductor looks to be set on a remarkable career.

So for the opera itself, the two leads, and the conductor, Dynamic deserves our thanks for this Hans Heiling. Now how about Das Vampyr?

Chris Mullins
Los Angeles Unified School District, Secondary Literacy

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):