Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

OPERA TODAY ARCHIVES »

Performances

Renaud and Armide (Nicolas Poussin)
16 Feb 2007

Jean-Baptiste Lully, Armide (Opera Lafayette)

The Opera Lafayette of Washington DC has been engaged in a new project this season – the Armide Project, as the group dubbed its ambitious plan, in collaboration with the University of Maryland Opera Studio, to present two great operas set to the same celebrated Philippe Quinault libretto.

Above: Nicolas Poussin: Renaud and Armide (1626-1628)

 

On February 4th, the Clarice Smith Performing Arts Center in College Park MD hosted a concert performance of the original Armide – the 1686 masterpiece by Jean-Baptiste Lully; in April, the collaborators will offer a fully staged production of the 1777 Armide by Christoph Willibald Gluck, who resolved to conquer Paris by confronting the most famous creation of his illustrious predecessor.

Lully’s Armide, an enduring hit on the French operatic stage for a century after its premiere, is not often heard these days – particularly live. So, even unstaged, Opera Lafayette’s production of this brilliant, complex score was a rare treat to both the early music fans and the generally curious who packed the sold-out Dekelboum concert hall last Saturday afternoon. The 16-piece choir and a period instrument ensemble supported an international – and internationally acclaimed – group of soloists, some with most impressive baroque opera credentials. The casting evidently aimed at creating an ingenious mirror to Quinault’s well-known storyline, for it was dominated by Stephanie Houtzeel’s Armide. Tall, with regal posture, clad in blazing red jacket, the warrior princess ruled her universe with supreme confidence, commanding both respect and admiration of the troupes with her vocal power, range, and technique. Almost uncomfortable at times in its intense expressivity, Houtzeel’s performance was a reminder that the line between high drama and embarrassing melodrama on the 17th-century French stage would probably appear rather blurred to us.

In her interactions with other characters, Armide – in yet another hommage to Quinault – found herself conquered, on occasion, by the “implacable” Renaud of Robert Getchell. His ringing metallic tone, even in all registers, superb sound production, diction, and articulation were most appropriate for a hero crusader, while a certain lack of subtlety in phrasing and ornamentation still kept the audience’s sympathy securely with Armide. Among supporting roles, François Loup who pulled double duty as Hidraoth and Ubalde won praise for his rich, warm tone and elegant phrasing. William Sharp, Miriam Dubrow, and Tony Boutté did very well in their multiple roles (although Dubrow sounded a touch hesitant sometimes). Venerable Ann Monoyios appeared a little tense and had trouble with her projection in the prologue, but by the end of the evening one could see why this sought-after artist regularly works with the luminaries of period music.

The chorus did an excellent job throughout the performance, while the enthusiastic baton of Opera Lafayette’s artistic director Ryan Brown also coaxed some fine playing from the instrumentalists, including two lovely baroque flutes and a diverse continuo group of French viola da gamba, guitar, theorbo, cello, and harpsichord. The strings – divided according to French baroque tradition into five, rather than four parts – were less impressive in my opinion: their articulations (particularly in double-dotted passages) could have been sharper, and the ornaments more precise. There were also some issues with tempo changes between duple- and triple-time passages in the prologue. Yet overall, the ensemble’s rendition of the famously complex score was admirable, and the applause well deserved.

One of the most fascinating features of this concert performance was the part of it that was not, in fact, “concert”: close to forty minutes of period dancing performed by members of the New York Baroque Dance Company and choreographed especially for this production by Catherine Turocy. Unlike the singers, the dancers were costumed: ladies exhibited a contemporary take on high baroque fashion, complete with hair and shoes, while male helmets and tunics reminded one more of ancient Rome than the medieval crusades or Louis XIV’s France (no one – in the audience, at least – seemed to care). As the choreographer herself explained in a pre-concert Q & A, very few details of original choreography survive from Lully’s day; with the exception of a single gigue and two or three versions of the famous Act 5 passacaille, we can only guess what the dancing in Armide would have been like. So, Turocy made a guess – an educated one. The dancers offered examples of stylized baroque choreography: symmetrical, filled with traditional poses, movements, and gestures, and colored with appropriate symbolism as the main characters and ideas of the opera were reflected in its sister medium of ballet. The good spirits, for instance, were dressed in light-colored costumes and porcelain white masks, while the evil ones wore black, with brown masks, and carried long black veils that they would place over the head of their counterparts to symbolize their transformation into them. Along with the unexpectedly athletic set dances, there were episodes of pantomime, as the “stand-ins” for main characters played out the story in movement and gesture (for example, in Renaud’s famous Act 2 air de sommeil). Turocy clearly mined the score for ideas but treated the information creatively: for instance, in Act 3 divertissement, the followers of Hate are meant to capture Love and symbolically break its arrows to free Armide from her feelings for Renaud. In the current production, both captured Amour and (one) arrow were present, but the 17th-century cupid would hardly have behaved quite so insolently in front of the opera’s illustrious original audience.

The Opera Lafayette’s production of Armide was a long-awaited premiere of the new and what surely will be a definitive edition of this opera, prepared by Lois Rosow, a renowned Lully specialist and a professor of musicology at the Ohio State University. Dr Rosow, who was present at the performance, shared her expertise with the audience during the pre-concert Q&A that also included Ms. Turocy and Mr. Brown. Thankfully, this expertise will soon be available to baroque opera lovers worldwide: recorded for the Naxos label, Opera Lafayette’s performance of Lully’s masterpiece is due to be released in 2008.

Olga Haldey

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):