Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

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):