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

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

OPERA TODAY ARCHIVES »

Performances

Miriam Ryen as the Queen of the Night and Jennifer O’Loughlin as Pamina (Volksoper Wien, 1 May 2007)
30 May 2007

Die Zauberflöte at the Volksoper

Serpents, abduction, magic flutes, a sacred priesthood and, of course….love, are a few of the elements Mozart used to comprise his mason-influenced collaboration with Emanuel von Schikaneder.

W.A. Mozart: Die Zauberflöte

Wiener Volksoper, 1 May 2007

Above: Miriam Ryen as the Queen of the Night and Jennifer O’Loughlin as Pamina

 

The Wiener Volksoper’s 2007 production of Die Zauberflöte is rich with visual effects, including a large mechanical dragon that emerges from the depths of the stage, a vibrant rotating set complete with “living” statues who are elevated high above the stage; a gargantuan telescope and fire set the scene for what was unfortunately a mediocre production, other than a few glimmering aspects.

The Overture was well-effected but somewhat mechanical and it lacked in the necessary colours and shading that Mozart’s music demands. Conductor, Elisabeth Attl seemed to have little influence over the orchestra that in some moments seemed to be just going through the motions. The three ladies, sung by Edith Lienbacher, Sulie Girardi, and Andrea Bönig looked fabulous in matching gowns and hats (and later clad in leather and tattoos) complete with walking canes, however their singing was often strident and in what should be a unified harmonic ensemble there were inconsistencies in unity.

Die Königin der Nacht (Queen of the Night) was eloquently sung by Miriam Ryen, who had a brilliant and laser-like upper tessitura and beautiful agility in her coloratura passages, however the orchestra often overpowered her and thus obscured her musicality. Her Der Hölle Rache kocht in meinem Herzen was visually exciting with an electric red sky from which hung an enormous crescent moon. Some intonation problems affected her performance of this aria, that also lacked the tremendous rage that Mozart expected here.

Papageno was performed by Mathias Hausmann who possesses a lovely burnished baritone to match his consummate dramatic abilities. His Der Volgelfänger bin ich ja was not only amusing, but sung with much inflection and attention to detail. Unfortunately, the following entrance by Daniel Behle, as Tamino, left much to be desired. His Dies Bildinis ist bezanbernd schön lacked the brilliant sound that the aria requires and his acting was somewhat superficial throughout the opera. One wondered if he was really in love with Pamina or not.

Pamina’s entrance was visually wonderful, as she was dragged in by Monostatos (played by Wolfgang Gratschmaier) in a large net. American Soprano, Jennifer O’Loughlin’s Pamina was artistically beyond the rest of her cast. She effected every entrance with lovely spinning tones in a deep golden hue in her middle voice, and her musicality was well-suited to the lyricism Mozart demanded of a superb Pamina. The orchestra, however, was highly insensitive to Ms. O’Loughlin’s middle and lower registers and failed to match her musical nuances. A sensitive and believable actress, her Ach, ich Fühl’s es ist verschwunden was luscious and effected with impeccable diction, and well-floated pianissimi that give credit to her vocal technique.

Lars Woldt, in the role of the Sprecher, possessed a strong and well-projected voice, and his presence added to the overall dramatic impetus of the production. In addition, Kaiser Nkosi’s Sarastro opened Act II with strong dramatic and vocal qualities. His middle register was a lovely purple hue, however he lacked resonance in his lower tessitura, an unfortunate detail that affected the strength of Sarastro’s character.

Jennifer O’Loughlin and the Wiener Sängerknaben

Some of the most comical moments to which the audience responded belonged to Papageno and Papagena (comedically played alla Lucille Ball by Renée Schüttengruber). Complete with hot pink wig, and the whiniest fabricated voice, Papagena stole Papageno’s heart, and the audience’s as well. If anything stood out in this production it was the musicality and unity of the “Three Boys” who were played by the Wiener Sängerknaben. Mozart’s opera is imbued with many numerical elements in groups of three and these trios (the three spirits, the three ladies, and three priests in the temple) should be unified textually and harmonically. The three boys were perhaps the most precise musically and kudos go out to them for stealing the show. Although a visually interesting production, the orchestra often marred the musicality of the singers, and most bothersome was how members of the orchestra got up and left the pit during the opera and then returned to later, not only disturbing the dramatic action but also creating a general lack of continuity in the musical fabric.

Mary-Lou Vetere-Borghoff
PhD (ABD), M.A., Mus.B

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):