12 Jan 2007
WAGNER: The Ring Cycle
It is a mystery as complex as the Kirov’s Ring Cycle staging and equally inexplicable.
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
It is a mystery as complex as the Kirov’s Ring Cycle staging and equally inexplicable.
How can so much be put into possibly the greatest of artistic undertakings, Wagner’s masterpiece of a prologue and three operas stretching over 19 hours, and yet seem incomplete?
Conductor and artistic director Valery Gergiev and his designer George Tsypin are credited with having created this epic production with no mention of a director. And there lies one of this extravaganza’s key weaknesses.
If more time and effort had been put into giving the cast stronger direction rather than worrying about the impenetrable concept this would have been a more rounded experience.
The orchestra under the baton of one of music’s current demi-gods certainly lived up to the huge expectation, albeit after a lackluster start with the first of the four parts of the Ring, Das Rheingold. Ultimately, there were indeed moments (well long periods as this is Wagner) of exquisite beauty, including an awe-inspiring ‘Siegfried’s Death and Funeral March’.
Vocally we had some world class performances but equally some frankly disappointing voices that sounded either tired or just badly cast.
Being performed over four consecutive days requires different singers to take on the same roles, so, for example, we had three Wotans. I liked Yevgeny Akimov but none bowled me over.
Similarly we had two Siegfrieds and these could not have been more different, down to Leonid Zakhozhaev having a flowing brown mane and the second Viktor Lutsyuk sporting a shock of white hair.
Zakhozhaev coped with the demands of Siegfried and at least looked the part. Poor old Lutsyuk looked like one of those gonks children stick on the end of a pencil. I could have forgiven the dopey grin if the voice had been as memorable.
There was no such problem with Olga Sergeyeva’s striking Brünnhilde who was a dominating presence, emotionally intense and vocally heroic. Her show stopping scenes were indeed show stopping and she seemed totally unfazed by some of the comings and goings around her.
Just as enjoyable were some of the relatively smaller roles such as Vassily Gorshkov’s Loge, Svetlana Volkova’s Fricka and a splendid Hagen from Mikhail Petrenko. Larissa Diadkova sang Waltraute’s great aria in Götterdämmerung as if she had been waiting all her life for the opportunity.
It is one of the wonders of the Ring Cycle that virtually whatever a producer or designer throws at it Wagner’s music manages to rises above it. This was such a case. While Tsypin’s sets are monumental, with vast figures, rising and descending rocks and multi-coloured internal lighting that is presumably deeply significant but quite what they had to do with what the singers were doing was unclear.
This is very much a Russian ring but with references to gods from a myriad of ancient world religions. Some are more recognizable to us in the West than others, especially Egyptian deities including Wotan as Anubis, the god of death and embalming, which made perfect sense.
I thought I would start to understand other elements of the staging as the Ring proceeded. Instead, by the end of the second evening, Die Walküre, I had decided not to hurt my brain any more and enjoy the music.
Yes, we had some powerful dramatic performances but we also had times when singers seemed to be wandering around the stage. The Valkyries, for example, sounded superb could have been in a concert performance, being reduced to a dreadful little choreography that involved changing places and rotating several times. Likewise, the giants Fafner and Fasolt had to overcome being wheeled on, their pin heads protruding from cumbersome pretend “rocky” bodies.
But the physical side of the show did have its plus points. The figures dressed in black with long fluorescent hair worked very well as the Rhine and, combined with Gleb Filshtinsky’s lighting, such theatrical cleverness created much atmosphere.
Production aside, the flashes of musical genius from stage and pit, however, made the whole experience an exhilarating experience, justifying this massive undertaking.
This was a remarkable event to be staged in Cardiff, establishing Wales Millennium Centre as one of the top houses for large scale opera, and feeding a hunger for the best the world can bring.