11 Nov 2006
Triumph over Adversity
LONDON – the fledgling Independent Opera Company takes on Orlando.
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.
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.
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.
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).
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.
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).
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.
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.
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.
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.
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.
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.
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.
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.
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.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
LONDON – the fledgling Independent Opera Company takes on Orlando.
Even in Handel’s own time, Orlando wasn’t a hit. Three years ago the Royal Opera House mounted a big budget production of Orlando. Despite the big name singers, the elaborate revolving scenery and the Orchestra of the Age of Enlightenment, it was not an artistic triumph. What chance is there then for the tiny Independent Opera Company? This is a fledgling organisation, run on a shoestring. Orlando is only their second production. It would be totally unfair to expect them to pull off a miracle which has eluded so many, up to and including the Royal Opera House.
The real problem with this opera is that modern audiences find it hard to sit through three hours of repetitive recitative, and a plot that defies logic. What impressed me is how the company turned the difficulties facing them around. In the process, they thought the opera through. They approach the opera on Handel’s own terms. Alessandro Talevi, the Artistic Director, has enough faith in the merit of the opera that he can dispense with fancy props and let its inherent ideas shine through.
The whole point of Orlando is “triumph over adversity”. Orlando was a hero in the past but is now beset by problems he can’t comprehend. The opera begins with the usual conventions of love and false love, but from that point everything unravels. Misunderstandings and mishaps pile up relentlessly. This production takes the very deviousness of the plot as a starting point : its focus is the anarchy of fate, not the solution. Suddenly, Handel seems surprisingly relevant to our times.
The seats in the cramped Lilian Baylis Theatre rise steeply upwards, barely a yard from the platform edge, and the stage itself is impossibly narrow. To increase performing space, a tilted ellipse was built on the main platform, with a pit in the middle. Obviously, it would have seemed less claustrophobic in a more spacious theatre, but the ellipse had practical benefits. It created a four dimensional effect with an illusion of foreground and background. Moreover the hollow gave the cast cover so they could disappear, move and pop up again at will. It also meant that the orchestra, (conducted by Gary Cooper), could be accommodated literally in the heart of the action. Seeing them as well as hearing them enhanced the sense of “circles within circles”.
Ultimately, what made this production was its thoughtful understanding of the dynamics of character. William Towers’ dark timbres portray Orlando as an action man more prone to mindless violence than to thinking, but by Act Two, he convincingly turns the violence inwards. Even the ties that bind his costume unravel as he descends into madness. Tower has natural stage presence and has sung Medoro and Farnace at Covent Garden. Rebecca Ryan’s extensive experience showed in the aplomb with which she created the demanding role of Angelika. Joana Seara, a recent Guildhall graduate, was a charming Dorinda, tending her garden and pet nightingale. Christopher Ainslie was a golden Medoro vocally and visually. Nicolas Warden’s Zoroastro had authoritative presence. In this spare, minimalist production, lighting propels the narrative where scenery might do so otherwise. Shadow puppets and silhouettes make much more mysterious monsters. Zoroastro gets some wonderful moments, such as when he raises his hand and the lighting creates a pattern of words, rising up to fill the stage in synch with his arms. When he calls on the heavens, suddenly the stage is lit up by a projection of the earth seen from space. It’s a cosmic moment, with timeless, magical resonance.
It is imaginative details like this which show that there’s genuine talent in small companies like Independent Opera. There’s no way they can, or should be expected to perform at the level of major houses. Nonetheless, they should be nurtured, supported and cherished. Channel their enthusiasm wisely, and it could benefit all opera in the long term.