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

Die Meistersinger von Nürnberg, Kaufmann, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Janáček, The Makropulos Case, Bavarian State Opera

Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

OPERA TODAY ARCHIVES »

Performances

Richard Wagner
08 Mar 2007

Berlin “Ring” remains a sterling achievement

It was in the “Orwell year” 1984 that Götz Friedrich, general manager — Intendant — of the Deutsche Oper Berlin (DOB) from 1983 until his death in 2000, staged the first half of Wagner’s “Ring des Nibelungen” in the 1900-seat house on Berlin’s Bismarckstrasse.

Above: Richard Wagner (1862)

 

He completed it the following season.

Orwell’s chimera of total state control then still existed in communist Eastern Europe, and cold-war tensions were brought to a new height by new Soviet SS-20 nuclear missiles implanted in East Germany and — in response — Pershing II warheads sowed in West German forests by the US.

It was not a happy time. Germans saw their country as a nuclear battleground. Today, however, the nuclear threat is only an added feature of global terror.

Small wonder that Friedrich took Wagner’s gods and giants underground, suggesting refuge from a nuclear holocaust. And it’s hardly a surprise that this “Ring” continues to pack its wallop two decades after it was new.

Friedrich literally found his “underground” in the Washington, D.C. Metro, the model for the “time tunnel” designed by Peter Sykora as the site of this “Ring.”

In this hermetic refuge time and space are fused in a contemporary comment on the human condition.

Before Wagner’s music begins the curtain rises on immobile gods shrouded beneath white cloths. They come to life as actors in their own drama, knowing well a story they have told and re-told through the ages. And, as beginning and end merge in mythic recurrence, the gods return to their shrouds as the Rhine rises over Valhalla’s ruins at the end of “Götterdämmerung..”

This, one the one hand, is a new “Oresteiä;” on the other, it’s Beckett’s “Endgame” revisited. It engages the audience in a critical confrontation with the gods; the listener asks whether there might not be a way out of this complex labyrinth of greed, envy and death.

Thus Friedrich’s “Ring” achieves new relevance with each return of the production to the stage. (In its early years it also traveled to Japan and Washington.)

Even Bayreuth would find it difficult to assemble the cast on stage at the DOB for the cycle that ran from February 20 to 25.

Norway’s Terje Stensvold is a thoughtful Wotan, a man of authority and awesome both in vocal and physical stature. The cycle’s Sieglinde, Danish Eva Johannson will soon sing her first Brünnhilde in Vienna, and American Robert Dean Smith brings the heft of the baritone that he was earlier in his career to her “twin” Siegmund.

Richard Paul Fink, another American and today’s reigning incarnation of the role, takes obvious delight in Alberich’s evil machinations, while tenor Burkhard Ulrich eschews the emasculated, hand-wringing Mime now common elsewhere to offer a full-blooded portrait of this unattractive figure. And veteran American bass Eric Halfvarson sings an impressively dark and demonic Hagen.

Most versatile member of the cast is mezzo Marina Prudenskaja, who finished studies in St. Petersburg — her home town — just a decade ago. Here, on the heels of a regal Fricka, she sings Erda in “Siegfried” and both the Second Norn and Waltraute in “Götterdämmerung.”

Evelyn Herlitzius, Bayreuth’s 2004 Brünnhilde, could easily be taken for an energetic, teenaged athlete; she transcends the stereotypical image of the corpulent Wagnerian soprano.

She is a passionate singer in every range and at every dynamic level. Her portrayal of the betrayed Brünnhilde is as tragically moving as it is chilling. A bit of Edith Piaf grit in the lower register adds a special frisson to her work.

Beyond this overall excellence one member of this cast is truly remarkable: Alfons Eberz, who as Siegfried can simply be taken at face value. Indeed, if this character had a historic progenitor, one can only hope that was the match of this young German tenor.

Eberz, Parsifal at Bayreuth last season, isn’t merely young, blond and handsome, he’s that kid from the country whose innocence in the opening acts of “Siegfried” is totally unfeigned. He has no need to fake the pure fool that Wotan’s grandson is, he’s the blank page who makes it all genuine.

Eberz is obviously the Heldentenor that the world has dreamed of since World War Two; his voice balances beauty and power, and his stamina is endless.

With Herlitzius he elevates the “Awakening” scene that concludes “Siegfried” to a legendary level, for it is here that this “Ring” pays telling tribute to Götz Friedrich.

Friedrich, born and schooled in the East of then-divided Germany, was an assistant to Walter Felsenstein, who as mastermind of East Berlin’s Komische Oper in the first post-war decades taught Europe that opera isn’t just about singing, but that it is music theater.

His imprint is clearly felt in Friedrich’s direction of this scene.

True, the love of Siegfried and Brünnhilde was preordained, yet the text tells of the ex-goddess’ hesitation to surrender herself to her impassioned suitor. Compared, however, to the study in incipient eroticism that these two singers make of this scene, everything else is at best greasy kid stuff.

Indeed, Herlitzius makes clear here that even her earlier response to Wotan’s incestuous fondling was only the reaction of an inexperienced young woman to the advances of a man of high authority.

The greatest single contribution to the overwhelming success of the cycle, however, comes from conductor Donald Runnicles, the Scottish-born maestro now moving toward the end of his tenure as music director of the San Francisco Opera.

Through Runnicles’ intimate knowledge of — and experience with — this vast work, one hears things overlooked by Wagnerian wanna-bees. His attention to inner voices is relentless and never in the 16 hours of cycle does he resort to mere routine.

And the DOB orchestra, now heard in concert several times each season, is a superb ensemble. It was an unusual touch that after “Götterdämmerung” the entire group appeared on stage with Runnicles to accept the acclaim of the audience that packed the house.

Two concurrent events underscored the priority that Wagner is at the DOB: a single program that offered all the composer’s songs and “Klein-Siegfried,” Curt A. Roesler’s introduction to the “Ring” for kids eight and above.

A “Ringless” night was well spent at the Komische Oper, where Astor Piazzolla’s “María de Buenos Aires,” premiered in 1968 as a secular oratorio, has been fully staged by Katja Czellnik.

The libretto by Horacio Ferrer equates the sensual Mari’a both with sin-stained Buenos Aires and the Virgin Maria, sung on February 25 by Julia Zenka, while Daniel Bonilla-Torres delivered the lines of the spirit Duende in Sprechstimme. Tenor Matthias Klein was a gripping Cantor.

And although Berlin is home to three companies of international stature, opera in the city is not restricted to them.

On 19 February Texas-born soprano Laura Claycomb was the soloist in a program of Baroque opera with the Deutsches Symphonie Orchester Berlin conducted by Emmanuelle Haïm, a young French woman who brings a winning combination of grace, charm and energy to the podium, where she presided in part from the harpsichord.

A decade into her career, Claycomb, a product of Southern Methodist University and the San Francisco Opera studio, is without a peer among today’s young American sopranos.

In a packed Philharmonie, Hans Scharoun’s hall built under the watchful eye of Herbert von Karajan, Claycomb sang suites arranged by Haïm from two operas by Rameau and Handel’s 1707 cantata “Il delirio amoroso,” all works suited to the agile flexibility of her gifts.

Since German unification in 1990 pride of place among Berlin’s three opera houses has gone to the once-Eastern Staatsoper, at home in the historic Unter den Linden house built by Friedrich the Great.

 Happily, this “Ring” confirms that the Deutsche Oper remains a formidable force in the city’s vibrant musical life.

Wes Blomster

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):