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

The Merchant of Venice: WNO at Covent Garden

In Out of Africa, her account of her Kenyan life, Karen Blixen relates an anecdote, ‘Farah and The Merchant of Venice’. When Blixen told Farah Aden, her Somali butler, the story of Shakespeare’s play, he was disappointed and surprised by the denouement: surely, he argued, the Jew Shylock could have succeeded in his bond if he had used a red-hot knife? As an African, Farah expected a different narrative, demonstrating that our reception of art depends so much on our assumptions and preconceptions.

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.

Dulwich Opera’s Carmen

Dulwich Opera Company’s Carmen was a convincingly successful show.  This was mainly due to succinct musical direction and rigorous dramatic direction.  It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye.

OPERA TODAY ARCHIVES »

Performances

Pascal Bertin, Damien Guillon and Brigitte Hool (Copyright Nice Opera)
20 Mar 2007

Teseo — Handel by the Sea

Nice Opera, on the French Cote d’Azur, seemed a most suitable place for this early work by Handel.

G. F. Handel: Teseo

Opéra de Nice, 18 March 2007
Photo courtesy of Opéra de Nice

 

The opera house itself is a stone’s throw from the Mediterranean and, with the pale blue shallows merging into the proverbial “wine dark sea” of legend beyond, it didn’t take much of a leap of the imagination to envisage these waters carrying the ships of Theseus, Aegeus and Medea to their immortality. Helping this conceit along was the fact that this particular production designed by Gilbert Blin and conducted from the violin by Gilbert Bezzina pulled absolutely no punches in terms of the oft-maligned term “authentic”. If the great man himself had time-travelled from 1714 to 2007 and walked into the theatre as the curtain rose, he surely would have nodded approvingly at everything he saw beyond the footlights and, mostly, heard from the pit.

Make no mistake; this was very serious opera seria. From the painted clouds to the bewigged and silken-gowned protagonists, from the hand-shaken thunder machine to the monsters rolled on from the sides, this was as near to an authentic experience of baroque opera as might be achieved today. Its quaint charm - not to mention the gorgeous stuffs of the costumes - beguiled the eye at every turn. So much so in fact, that it was all too easy to almost ignore occasional vocal lapses that elsewhere in a starker, more real-politik, setting might have been more prominent.

These lapses were highlighted by the fact that in terms of even Handel’s soundscapes, Teseo is unusual. There is no bass or tenor role, and the characters are sung by sopranos (both male and female), mezzo-sopranos and, today, counter-tenors. When the mixed chorus including lower voices occasionally makes a vocal entrance it thus has a surprisingly sonorous effect. The mainly French speaking cast of principles are not widely known beyond western Europe: soprano Brigitte Hool as the heroine Agilea, who loves Teseo, the returning warrior to the court of King Egeo, was by far the most accomplished and appealing of voices on display with a nice line in delicate ornamentation, good diction and a charming stage personality. In contrast, the wicked-witch character of Medea, that epitome of woman-wronged and vengeful, sung by mezzo soprano Aurelia Legay, was anything but delicate – except in volume which was sadly lacking in the early Acts. By the fourth and fifth she seemed to have found her full voice, but a little late. Egeo, not a large role, was sung by the very experienced French counter-tenor Pascal Bertin who showed a real baroque feel for this music, if not exactly setting the stage alight with his vocalism. The “sub-plot” pair of lovers, so often used by Handel to fill out the stories and the score, were sung by soprano Valerie Gabail (Clitia) and young French counter-tenor Damien Guillon (Arcane). The latter was certainly the most exciting discovery of the performance with a firm vocal production, consistent through the range, and with true alto warmth with no hootiness or recourse to root voice. A young man to watch in this field. Of the principles, that leaves the title role, and here there was disappointment. Having heard male soprano Jacek Laszczowski sing this role in England last year, it was perturbing to hear his obvious vocal problems throughout this production. They seemed to centre on his inability to produce his male soprano effectively in the lower reaches of the recitatives and ariosi. The sounds produced then were not pleasant – in contrast to some of his arias where when he sang at the top of the staff and beyond and his voice produced both beautiful pianissimos and clarion fortes. Let us hope that this is a temporary situation.

Apart from the singers and costumes, much of the authentic feel of this production came from the musical support of the “Ensemble baroque de Nice” – one of the major baroque groups in southern France – ably if somewhat pedantically led from the violin by their Director, Gilbert Bezzina. One could not argue with his reading of the score, but his tempi sometimes dragged down an already-top-heavy (if only by the huge wigs) staging even more than was perhaps inevitable.

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):