Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

Expressive Monteverdi from Les Talens Lyriques at Wigmore Hall

This was an engaging concert of madrigals and dramatic pieces from (largely) Claudio Monteverdi’s Venetian years, a time during which his quest to find the ‘natural way of imitation’ - musical embodiment of textual form, meaning and affect - took the form not primarily of solo declamation but of varied vocal ensembles of two or more voices with rich instrumental accompaniments.

OPERA TODAY ARCHIVES »

Performances

Pocahontas (From the Virginia Plantation by John Langston, 1894)
25 May 2007

Virginia Arts Festival celebrates “Pocahontas”

Norfork - It’s America’s biggest birthday since the 1976 bicentennial celebration of the Declaration of Independence:

Above: Pocahontas
An etching in From the Virginia Plantation by John Langston, 1894

 

the 400th anniversary of the founding of Jamestown, the first permanent English-speaking settlement in the New World. And to commemorate the landing of those 104 adventurous Englishman the Virginia Arts Festival and the Virginia Opera co-commissioned “Pocahontas,” a tribute to the young Native American woman who charmed the new arrivals. The favorite daughter of Algonquian chief Powhatan, she learned English, converted to Christianity, married Virginia colonist John Rolfe and gave birth to a son, whom both Thomas Jefferson and Robert E. Lee claimed as an ancestor. Renamed Rebecca by a clergyman who saw her as the mother of two nations, Pocahontas traveled to England, where she was presented at court and, as she prepared to return to Jamestown, died suddenly at 24 in 1817. She is buried at Gravesend, and it is there that the one-act chamber opera by composer Linda Tutas Haugen and librettist Joan Vail Thorne begins.

From there it moves back to Jamestown and the early hostile confrontation between natives and settlers. Pocahontas appears now as an adolescent, a tomboy attractive to both parties and simultaneously as a mature woman respected on both side of the Atlantic. This interplay between the young and mature character is particularly effective in underscoring her role in two cultures.

Beyond the outer facts of her brief life, little is known about the “real” Pocahontas. Contemporary accounts were — in the style of the day — elaborately embellished, and later generations — including the 1995 Disney film — have added undocumented ornamentation. And although Haugen and Thorne obviously did an immense amount of study — including on-site observation of artifacts and landscape, they have made no effort to fill in blanks. Their endeavor focuses not on linear narration, but rather on an evocation of the unusual woman that Pocahontas was. While committed to cultural accuracy, the creative team has sought not to write history, but to explore the mystery of this woman who did much to establish peace between two peoples.

And the mesmerizing quality of Haugen’s score stresses that basic questions about Pocahontas remain open. “I ask myself who I am and I do not know the answer,” she sings. “There will never be an answer; I will always be ... a question.”

Further major players in the story as told by Thorne are Pocahontas’ father and mother, husband Rolfe and John Smith, head honcho of the Jamestown adventure.

Acclaimed a success by the enthusiastic audience that packed Norfork’s Roper Performing Arts Center for the world premiere on May 19, “Pocahontas” is an opera like no other. It is a pastiche that combines song and extensive spoken dialogue in a superbly crafted score. Haugen, noted for her use of ethnic voices and instruments in previous works, went to the tribes still resident in East for motifs that she has woven into the work, the instrumentation of which calls for specially crafted Native American flutes, drums and shakers. Haugen further includes a hymn tune from Thomas Commuck’s 1845 “Indian Melodies” and — to suggest the flavor of the Elizabethan age — bits of Byrd, Gabrielli and Orlando.

With a voice decidedly her own the composer has combined all this in a 90-minute seamless score for nine instrumentalists seated on stage behind the small, near-empty space upon which the story plays. “Pocahontas” is engaging and accessible without being pabulum for the people. The music is beautiful and often powerful; Rolfe’s wooing of the heroine and her death scene elevate this enigmatic woman into the company of Violetta and Mimi. (Although they add local color, the three Native American songs delivered by a vocal/drum duo from the Haliwa-Soponi and Appomattox Tribes stand outside the score and contribute little to the story.)

Virginia Opera assembled a superb cast of young singers for this production, slated also for performance in historic Williamsburg. Sopranos Laura Choi Stuart and Dawn Zahralban were superbly matched as the mature and youthful heroine, and bass Branch Fields sang Rolfe with resonant richness. Lyric tenor Brandon Wood was a handsome and sometimes roughish Smith, and Andrew Fernando a major presence as Powhatan.

Pam Berlin directed the staging with a firm hand; Marlene Pauley conducted with authority. Choreographer Todd Rosenlieb wisely opted for stylized dance, eschewing the pow-wow that others might have found essential. Costumes by designer Michael Schweikardt were true to the period; on her first appearance Pocahontas was dressed as in the painting by Simon de Passe, her sole surviving visual image.

In making the commission Robert Cross, founding director of the Virginia Arts Festival, specified that “Pocahontas” was to be not “a kiddie opera,” but rather a “family-friendly work to which parents would enjoy taking their children.” And the reaction of the opening-night audience, among which were many kids, suggested that he got what he ordered.

Pocahontas is famous beyond her native region, and this opera deserves stagings elsewhere. Because of its modest dimensions, however, it will not have the appeal of Mark Adamo’s “Little Women” or Jake Heggie’s “End of the Affair,” two recent and widely performed chamber operas. “Pocahontas,” however, is nicely suited for academic opera programs and for studio production by major companies. Haugen’s music is wonderfully singable and ideal for voices still in the development stage.

Festival performances of the opera profited, of course, from the “you-are-there”proximity of the historical triangle Jamestown, Williamsburg and Yorktown, magnificently developed sites with an abundance of authentic documentation intelligently and tastefully displayed. Patriotism has become a discomforting concept of late; a visit to this region from which America grew is reassuring.

Footnote: Aside from its obvious roots in Jamestown “Pocahontas” is something of a Minnesota Opera. Composer Haugen holds degrees from St. Olaf and the University, where she studied with Dominic Argento. Librettist Vail has worked closely with St. Paul-based composer Stephen Paulus, and conductor Pauley, also a St. Olaf alumna, is a clarinetist in the St. Paul Chamber Orchestra, which she conducts regularly.

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):