Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.

Drama Queens and Divas at the ROH: Handel's Berenice

A war ‘between love and politics’: so librettist Antonio Salvi summarised the conflict at the heart of Handel’s 1737 opera, Berenice. Well, we’ve had a surfeit of warring politics of late, but there’s been little love lost between opposing factions, and the laughs that director Adele Thomas and her team supply in this satirical and spicy production at the ROH’s stunningly re-designed Linbury Theatre have been in severely short supply.

Mozart’s Mass in C minor at the Royal Festival Hall

A strange concert, this, in that, although chorally conceived, it proved strongest in the performance of Schumann’s Piano Concerto: not so much a comment on the choral singing as on the conducting of Dan Ludford-Thomas.

Samson et Dalila at the Met


It was the final performance of the premiere season of Darko Tresnjak’s production of Camille Saint-Saëns' Samson et Dalila. Four tenors later. 

The Enchantresse and Dido and Aeneas
in Lyon

Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the Opéra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.

The devil shares the good tunes: Chelsea Opera Group's Mefistofele

Every man ‘who burns with a thirst for knowledge and life and with curiosity about the nature of good and evil is Faust ... [everyone] who aspires to the Unknown, to the Ideal, is Faust’.

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci!

Barbara Hannigan sings Berg and Gershwin at the Barbican Hall

I first heard Barbara Hannigan in 2008.

OPERA TODAY ARCHIVES »

Performances

Paul Nilon (photo: Dallas Opera)
18 Feb 2007

Opera North: Breathing new life into “Orfeo”

Friday night in Leeds, in the North of England, at the city’s marvellously restored Grand Theatre, with the pavements outside shining wet and a tidal wave of umbrellas surging past, was an exciting place to be.

Above: Paul Nilon
Photo: Copyright and courtesy of Dallas Opera

 

I was lured by England’s only national company outside of London, a new production by Christopher Alden of Monteverdi’s seminal masterpiece, and a debut in the role for one of England’s most talented yet under-rated tenors: Paul Nilon. Not one of the three attractions disappointed.

Opera North is on a roll at the moment; it has a beautiful old theatre as its home, decorated in a palette of deep red, green and gold, not to mention some fabulous original Victorian tiling now exposed again in all their glory, and is planning even more work in a Phase Two to bring back to life the adjoining Assembly Rooms as another rehearsal and performance space. Aligned to these physical plans is their continuing commitment to challenge preconceptions of opera, advocating lesser-known works (later this season they are presenting Kaiser’s “Croesus”) and to breathe new life into the classics. You don’t get very much more classic than the opera that virtually invented the art-form, and Christopher Alden has most decidedly set out to challenge a few well-worn notions of this favola in musica.

First of all, the evening’s staging is seamless and without interruption by interval which makes for a long sit — some one and three quarter hours. Secondly, Alden gives us just one physical location with no traditional “descent” into Hades, no Styx, no dark and flaming scenes or flying deities. As the curtain rises we are taken to a large room — possibly a palace or ducal space — floored, walled and canopied in a kind of giant parquet wood effect in shades of brown. The costumes are non-specific modern: jeans or dresses with Tudor touches in the form of the occasional ruff or slashed velvet doublet. A few high niches in the side walls are the only entrances and exits for a necessarily agile cast of singers — each niche must have been at least four feet from the boards. Apart from that, just an array of sofas and easy chairs provided visual detail and a base for the assembly of singers who in turn played the wedding guests, the chorus, the Furies and, the audience. Audience? Yes, in a way they were just that, for in this production Alden and Nilon combine their talents to persuade us that this is not Orfeo as hero, great lover or mystical muse; rather, he is Orfeo the Artist, the Performer, and subject to all the angst therein. His great aria Possente spirto is delivered in the form of a nervous singer giving an audition, complete with hastily-erected music stand, shaking hands and despairing glances at an unmoved Caronte. Equally challenging to the paying audience was the way Alden played with our expectations of the ill-fated Eurydice: she seems anything but delighted to be marrying Orfeo, more than happy when dead, and — a typical Alden touch — when masking-taped to a wall to denote her passage into the Underworld she is transmogrified into the character of Speranza who encourages Orfeo to convince the infernal gatekeeper Caronte to let him follow his love. Caronte spends his time sitting in one of the ubiquitous armchairs, apparently reading the Obituaries column of the Times. A nice touch.

For some in the first night audience (a gratifyingly full house) these ideas pushed them out of their comfort zone; but even if Alden’s love-affair with masking tape (used not only to fix poor Eurydice upright to a wall, but also to delineate Pluto’s kingdom and occasionally confine Orfeo) irritated some, then there could be no argument with the quality of the music making. Quite simply it was fine, idiomatic, and intensely stylistic throughout without ever making the mistake of sounding overly “old” or pedantic. Chris Moulds directed a twenty-strong period band, each element of which accompanied different characters, different “affects”, in different parts of the story — recorders, cornets, sackbuts and harp adding a rich sonority to the strings and ubiquitous theorbos.

Of the singers, Paul Nilon of course has to carry much of the opera. This was his first attempt at the character, which is surprising when one considers his great experience in baroque and classical roles, but he rose to the challenge and indeed threw down another to singers currently regarded as masters of the role. Nilon is superb when portraying disturbed or emotionally tangled psyches — his Grimoaldo in Handel’s “Rodelinda” springs to mind. His Possente Spirto e formidabil Nume, the great central pivot of the opera, was superbly sung, superbly acted. If it lacked the icy elegance of an Ainsley or Bostridge, in the context of this production’s most human of heroes, it convinced entirely. The desperation, the hope, the desire of every performer to please an audience, in this case the implacable gatekeeper, was in every note and gesture of this intensely written tour de force for the human voice.

The supporting roles were all consistently well sung and acted — Anna Stephany as Eurydice/Speranza is fulfilling her promise as a young English singer to watch, her voice full and coloured, nicely differentiated between the roles. Among the other female voices, Ann Taylor in the dual roles of La Messagiera and Prosperina had a glorious bloom to her voice, and an amusing stage presence when required. The minor male roles were equally consistent in quality of singing — standouts last night being basses Graeme Broadbent (a cavernously voiced Caronte), and Andrew Foster-Williams (a rather amusingly disinterested and randy Plutone). There were no obvious vocal weak links and this alone is a testament to the strength in depth that Opera North can command at present.

This quality was not lost on the local audience or guests: at the end of the performance there were warm ovations for all concerned, well-deserved cheers for our Yorkshire-born Orfeo — and a few cheerfully-received boos for the director. Certainly one can pick holes in some of the director’s conceits in this production: the eliding of Eurydice’s rescue and second death for instance, but safe to say both Alden and Opera North have upheld their avowed traditions in fine style.

© Sue Loder 2007

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):