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

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

OPERA TODAY ARCHIVES »

Performances

Janice Watson as Salome (Photo: Ken Howard, © 2006)
24 Jul 2006

SHORT ON SALOME

Richard Strauss’ 1905 neurotic shocker Salome has long been a favorite Santa Fe Opera repertory piece, having enjoyed ten productions over the years.

It was the special province of the opera company’s late founder, John Crosby, who conducted Santa Fe’s first Salome in 1962 and led it as late as 1998, not long before his death. Now, some eight years later, the Strauss opera is back for the Festival’s 50th Anniversary season, in a presentation that makes one wonder why the effort was made. With one important exception, this year’s Salome is a surprisingly pedestrian affair.

Happily, a brilliant orchestral performance was achieved by the American conductor John Fiore, currently chief conductor at Deutsche Oper am Rhein, Dusseldof . Fiore led the best realization of the Strauss score I have ever heard at Santa Fe, and for the most part elsewhere, one of remarkable transparency, detail and color -- lacking only a final thrust of energy and excitement to find the real magic of Strauss’s score, a limitation imposed by a noticeably compromised cast.

Fiore, once a musical wunderkind (indeed, he was coaching singers in Wagner’s Ring Cycle at age 14 at Seattle Opera where his father was chorus master), is now a portly, somewhat Europeanized world-class conductor. We heard a highly competent orchestra, whose musicians obviously thrive on the strong direction they are now receiving at Santa Fe under the guidance of the company’s Music Director, Alan Gilbert. Fiore brought out the best of this group, playing the complex German music with a strong and secure hand, and balance that allowed Strauss to flow naturally and idiomatically.

If only the singers had been as good! Any Salome rises or falls on the success of its title soprano, in this case the English Strauss specialist Janice Watson. This artist has a good history at Santa Fe, where in 1996 she sang a brilliant Daphne, her voice well remembered for its thrust and thrilling high range. She sang a splendid Arabella a year later and was well regarded for Mozart performances.

Saturday night’s Salome was Watson’s debut in the role and it disappointed on all counts. Her acting was studied rather than spontaneous and it did not work; yes, the depraved teenager’s pouts and petulances were in place -- applied like makeup. Watson undertook her own Dance of the Seven Veils, which included hand-feeding grapes to King Herod in lieu of any better ideas, a great deal of rolling about on the grid covering Jokanaan’s cistern (so he could have a peek or two in case he changed his mind?). By the removal of the seventh veil it was all a faintly embarrassing non-event. The show could have been redeemed, of course, by a strong vocal performance, which was not forthcoming. Watson’s voice seems to have diminished and lost range and quality; her breathing was short and interrupted the vocal line, an uncomfortable situation at best. Hers was an odd piece of casting, especially since it has been known for some time, and was heard in Mozart performances last year at the Metropolitan Opera, that Watson was having problems.

Greer Grimsley’s bass has seen many Wagnerian nights over the years since he was last on the Santa Fe stage, and his voice is now rough and monochromatic; I found his Jokanaan’s religious pronouncements merely tiresome shouting and lacking in effect. We’ll not go into his costume or wig.

Alas, I am duty bound to report octogenarian Swedish tenor Ragnar Ulfung, who once owned the role of Herod, now can barely visit it. He was said to be hampered by an injured leg, but Ulfung’s singing was seriously inadequate. His limitations, along with those of Watson, undermined the show. The English contralto Anne-Marie Owens, the Whore of Babylon, Herodias , managed to muster plentiful volume but not much else of interest. Dimitri Pittes possessed a strong cutting tenor as Narraboth .

I wish he had enjoyed more becoming costumes in a production that was in every way conventional and routine. It played out on a large raked disc, slightly elevated above the stage, with Jokanaan’s cistern in the center – a thrice familiar but useful Salome concept. Duane Schuler’s lighting, again, was unatmospheric and almost surgical. We hope for better days for Salome, especially since Santa Fe Opera has a conductor on board who can do justice to Richard Strauss’s masterful scores.

(c) 2006 J. A. VAN SANT
Santa Fe, New Mexico

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):