12 Jan 2007
WAGNER: The Ring Cycle
It is a mystery as complex as the Kirov’s Ring Cycle staging and equally inexplicable.
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.