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

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.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

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):