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

La Fanciulla del West at Staatsoper Stuttgart
12 Aug 2007

Bieito Does La Fanciulla del West at Staatsoper Stuttgart

Staatsoper Stuttgart presented its new production of The Girl of the Golden West, directed by Calixto Bieito. And, well, it began with an added dialogue scene to establish the “concept.”

Giacomo Puccini: La Fanciulla del West
Staatsoper Stuttgart, 23 June – 25 July 2007

 

Okay, here is an Italian opera played to German speakers, and they chose to do this scene in English. We were apparently at stag night on a Universal studios tour of the Wild West sound stage.

A young woman dressed as a dance hall hostess (think Miss Kitty), tells them to take their seats in the bleachers, chats them up, telling them they are going to see a piece by Gee-Ah-Koh-Moh Puke-Chee-Nee, and then finally (with a Texas accent that is lost in print) shouts [I am not making this up!!]:

Would y’all like to see some Indians? (Yeeeeeaaaah)

Would y’all like to see some . . .cowboys? (Yeeeeeeeaaaaaaaaaaah)

Would y’all like to see. . . . some motherfuckin’ GUNS?!?! (Yeeeeeeeeeeeeaaaaaaaah)

Then the music began.

It was all but impossible to tell who was who at first. The Wild West sound stage crew were enacting a mish-mosh “show” for these tourists that had precious little to do with the story or character relationships. Minnie arrived on a trapeze flown in from above, dressed as a blond circus girl in tights and spangly bodice, not unlike Mae West in “Diamond Lil.”

She sang her bible reading scene without bible, from the trapeze, making no sense. Dick Johnson arrived on a horse, and just sat around for a long time, and since there was another guy on a horse next to him, no one paid him any mind.

Rance was an Asian baritone (this becomes important later), in fact there were lots of Asians in the Stuttgart cast. Maybe they work cheap? There were so many distractions, I don't know where to begin: Uncle Sam on stilts with a cane that shot confetti repeatedly, a living Statue of Liberty, minor soloists amplified with hand held mikes like a lounge act, a stunning cowgirl “extra” who turns out to be Wowkle, the sullen Indian squaw, for God’s sake. At one point a miner had an extended solo and I could not find him on the stage. Could not. I heard him, but could not find him in the melee.

During Johnson’s extended solo during the duet, a Union soldier (!) does a handstand and then walks on his hands across the entire apron of the stage. When Minnie sings, a giant crate is delivered center stage, and the miners (or whoever they are) open it, and then one by one they mug and camp and “take” their way down a trapdoor while she and Johnson are singing their duet. Oh, and they shot cap guns a lot. And there were confederate flags hung all over the house. (It’s the California Gold Rush (1849-50)! Hellooooooo!!)

And one miner got hung by the neck but instead of staying dead, they gave him a guitar which he played. There is a “well-hung” joke there somewhere but I haven't figured it out yet.

When the waltz started, first two quite amorous men started dancing, then others, and then some sound stage director (I guess), started making amplified German announcements/directions of what they should do, over the music.

By Act II, we are in the split level dressing trailer of Miss Minnie. First, party girl Wowkle enters with a miner and a huge carnival teddy bear, with which she has sex on the sofa. This turns into a three-way when Miner Man pulls down teddy’s boxers (although not his own), and enters teddy from the rear. When Minnie comes in and throws them out, the duo become paparazzi, annoyingly photographing everything for the rest of the act. Everything. Did I mention for the rest of the act?

Minnie changes into a silver lame dress slit up to her hip, and swaps wigs to complete a redheaded Rita Hayworth look. She has apparently invited Johnson over to dinner which, she proudly shows him, is a green Jello mold. Which she puts in the microwave. Sing sing sing sing – DING! The cooking is finished. It looks none the worse for wear, so she carves it and serves it as though it were a roast. And they eat it with knives and forks like good Europeans.

Then, obviously she has another culinary surprise in store for him, and she brings out an identical red Jello mold which they giggle over like middle schoolers, poking it and pulling bits loose with their fingers. Of course, then all hell breaks loose, and some 50’s Vegas thugs (including Rance) arrive brandishing pistols. Costumes get a little weirder here with lots of “Gangsta Wrap.”

One of Rance’s side kicks sits down and starts enjoying leftover Jello, which annoys the hell out of the Sheriff. So he picks up handfuls of it and stuffs it in the guy’s mouth and holds it shut until he swallows. (I am not making this up.) This may be the very first time in operatic history that Jello was a major prop.

The famous poker scene consists of Minne and Rance staring each other down while Minne throws cards at him and in the air, until she throws the remainder at him as she exclaims “Three aces and a pair.” And then they both break character and laugh laugh laugh laugh laugh, like they had some “in” joke. Then Minnie sobs uncontrollably until we transition to some nether region for Act III.

All the cast save the leads are now wearing colorful Mexican tourist sombreros, and are shrouded in a mist. Uncle Sam on stilts is back as some miner or another on stilts, in a tuxedo. He must be a symbol. Of. . .?????

Johnson is finally captured house right with three red ropes, and dragged on stage. As he sings his gallows aria (nowhere near one), the rest of the cast shoot and kill each other rather noisily in pantomimed slo-mo and drop dead to the floor. The tenor could have had a sparkler in his teeth and no one would have noticed. Stilts Man sprinkles them all with glitter. Fairy Dust? Who knows?

Finally, Rance (here’s the Asian motif) starts to execute Johnson with a Samurai sword, but lo, Minnie appears with her own Samurai sword, dressed like she had just come from a callback audition for the “The Fantastic Four.” They spar and she kills him, with Rance lingering a long time with the damn sword stuck under his armpit. The dead all sing (to audience laughs), then get up.

They all exit, leaving Minnie and Johnson splitting and singing how they are together.

Lights out. Audience boos.

What a mess. I think there actually may be a workable concept in all this, but it is so busy, so unfocused, and so self-indulgent that it does not come close to being representative of this piece. Fanciulla is still a caviar piece, and needs to be attractively produced to win favor with an audience. Being all over the map did not win this work any new fans.

And sadly, the leads were not up to par. The Russian soprano should stop and fix her problems. The baritone was okay, and the Asian tenor was the best of the lot, but lisped much of his Italian like he was Castilian. I have a hard time believing that any one of them would have gotten to the Met Council finals. And the conducting was dry and correct, when it needed to have Puccini Passion.

Anyhow, there is my take on Bieito’s “Fanciulla.” I wouId not be in a hurry to see a production of his again. Or to go to Stuttgart Opera again anytime soon.

James Sohre

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):