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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

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):