Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

OPERA TODAY ARCHIVES »

Performances

Michael Maniaci and Amanda Pabyan (© George Mott/Glimmerglass Opera)
16 Aug 2007

Michael Maniaci Flies High as Orphée at Glimmerglass

The legend of Orpheus and Eurydice has come down through the centuries to us, on the way inspiring some sixty-four other known operas.

Orphée et Eurydice by Glück, arranged Berlioz
Above: Michael Maniaci and Amanda Pabyan (Photo: © George Mott/Glimmerglass Opera)

 

Beginning with the art form’s pro-genitor, Peri’s L’Euridice written in 1600, that list of sixty-five includes two great masterpieces but only one that has never really left the world’s stages for a record 245 years.

That masterpiece is, of course, Gluck’s version of the timeless tale, “Orphée et Eurydice”, and in itself it has, over the years, been the subject of re-writings for different voices, genders and vocal ranges for the hero: from alto castrato (the original 1762 Italian version) through soprano castrato to high tenor, and then to Berlioz’s renowned arrangement in 1859, transposed by him for the great mezzo soprano of the time, Pauline Viardot. This was based on Gluck’s 1774 Paris version for “haute-contre” (high tenor, not countertenor) and transposed up to Viardot’s mezzo range.

A bewildering vocal history indeed; and, in the great tradition of this opera’s many vicissitudes, Glimmerglass Opera have achieved another two firsts. This summer’s new production by director Lillian Groag is using the new Bärenreiter edition of the Viardot/Berlioz arrangement for the first time in the USA and, perhaps more significantly, the title role is being sung by the exciting young American male soprano Michael Maniaci, who recently made waves at La Fenice with his performances of the title role in Meyerbeer’s “Il crociato in Egitto”, followed closely by his well-received Nireno in the Met’s “Giulio Cesare”.

Recent operatic history tells us that the demanding role of Orfeo has been sung usually by females — mezzo-sopranos and contraltos — and only recently have we seen a return to the male domain with CD recordings by tenors David Hobson and Richard Croft, and live performances such as countertenor David Daniels’ magisterial performance in Mark Morris’s new staging of the Italian version for alto at the Metropolitan Opera earlier this year — the first time a man has sung the role there. However, it is doubtful if there has ever been a professional staging of the Berlioz arrangement using a male soprano, and Glimmerglass are to be congratulated on their desire to push boundaries and to continue the writing of this iconic opera’s life story.

When it came to the new staging, I wondered if director Lillian Groag felt any pressure from the weight of history behind this opera? “I feel that with the great plays and operas in our canon everybody “knows” how they should be done and yet no one agrees as to what that “right” way is — so instead I always ask why this play or opera right here and now? In this opera I am looking at how the 4 characters — Orphée, Eurydice, l’Amour and the Chorus, or community, are affected by the process of grief, solace and return to life.”

For Groag, the hardest dramaturgical question was if Eurydice comes back to life, then the truly iconic myth is dismantled and apparently loses all meaning. However, in consultation with her costume designer Constance Hoffman, she came to the conclusion that it came down to religion or, in this case with the fatal look back, a failure of faith, the great sin in all theologies. “Calzabigi’s (the librettist of the original Italian version) and Gluck’s worldview was Christian and the Christian theology is the only one that has, to my knowledge, the possibility of redemption through suffering. This links directly to Eurydice’s final resurrection — through Orphée’s appalling suffering - which is gently remindful of the hope by which Christianity contrived to thrive in the Western World. I am an atheist, but I do see this as a profoundly Christian work.”

A hint as to Groag’s surprising, and ironic conclusion to this production can be found in her words above. She chooses to see the cycle of Life, Nature and man’s Redemption through Love as the key to this myth’s relevance today. The peasants cheerily celebrating yet another harvest in the opening scene comes full circle as our reunited lovers survey the chilling sight of their story starting over at the opera’s conclusion.

The opera opens here in some hypothetical 18th century world of rural bliss, with earth-toned costumed peasants set amongst the abandoned ruins of some Greek temples. The reference to time passing is one that recurs more than once. The Elysium Fields scene is another idea that works well: the Enlightenment’s vision of the Good Life — all arts, sciences and crafts applied in a peaceful society where harmony was the goal — was lit gracefully by Robert Wierzel. However, although Groag’s and her team’s initiatives often succeed well enough visually, there are considerable longueurs both here and in the opening scenes where singers and actors were apparently left to their own devices to the detriment of the cohesive whole. Luckily, John Conklin’s evocative neo-classical sets and Wierzel’s subtle lighting helped hold the whole thing together and, with Michael Maniaci drawing upon all his reserves of dramatic insight, directorial gaps are largely disguised.

It is this insight, coupled with the growing ability to move both body and voice into whatever realm is required by the text and music that makes Maniaci such a convincing and exciting stage performer. Here, he is the epitome of vulnerable young love — wounded by grief and at the mercy of the Gods. The voice, that of a true male soprano rather than countertenor using falsetto, is strong, centred and controlled throughout the range, and is one of today’s most interesting operatic phenomena, taking the high male instrument another step further to mainstream operatic “normality”. In this work he is required to sing, full and true, from G below middle C right up to soprano high C. It may not be his perfect vocal vehicle as it lies lower than ideal for him, but with the exception of the two lowest notes which take him beyond his current comfort zone, he operates with élan and strong dramatic sense. His full-throated soprano can float above the staff with ease, yet retains a difficult-to-describe but essential maleness about it.

Despite his avowed preference for simplicity Glück permitted a certain amount of ornamentation in his French revision; for instance in the mesmerising extended aria for Orphée, 'Amour, viens render a mon âme' that closes Act 1. Berlioz’s later arrangement for Viardot also encompassed a hair-raising cadenza written by the singer herself. Maniaci revels in the vocal challenge, displaying both technical brilliance and sense of style, with some amazing vocal gymnastics that set the hall alight.

Balancing this bravura performance, in Act 2, when Orphée descends to Hades we hear his heartfelt legato singing of Orphée’s plea to the Furies, 'Laissez-vous toucher par mes pleurs', which brought 'the demigod of music' to life and made us believe in his mystical powers of persuasion. Here the excellently demonic chorus rebut him time and again with their “Non!”s until at last they fall victim to his music. The iconic tune “J’ai perdu mon Eurydice” was elegantly yet powerfully sung; no mistaking this hero’s mental anguish as both singer and orchestra upped the tempo in the final repeat bringing an almost desperate quality to the aria.

Maniaci’s colleagues were equally convincing and committed: the sparkling soprano of Brenda Rae as L’Amour and the full vibrant singing of Amanda Pabyan as Eurydice were nuanced and distinctively phrased. Pabyan in particular was most affecting in her portrayal of the young woman too quick to blame her lover for his apparent indifference. In her reading of the part, we felt Eurydice to be the catalyst for disaster, rather than Orphée. Young Caitlin Lynch made a good impression as the Happy Shade, as did the two dancers, Trey Gillen and Katarzyna Skarpetowska, who led the choral movement sequences eloquently in elegant choreography by Nicola Bowie. Julian Wachner led the Glimmerglass Opera Orchestra in a fluent and pleasing reading of the score.

A “genuine classical drama” was what Gluck and Calzabigi originally wanted the audiences to see, and you could argue that the physical and vocal matching of role to character is crucial to make this happen. With a mezzo soprano singing this Berlioz arrangement, that equivalence is lost — would it be going to far to suggest that at last we have the thought-provoking realisation of Berlioz’s true musical intentions: the great mythic hero sung in the mezzo soprano range by a man? Probably it is, but that doesn’t undermine or diminish what Michael Maniaci has achieved. Another small piece of operatic history has been written here at Glimmerglass in 2007.

© Sue Loder 2007

Performances continue August 11th, 19th, 25th and 28th.

For tickets (limited availability): Glimmerglass Opera Box Office (607) 547-2255 and more information from the website: http://www.glimmerglass.org

 Orphée ( Version de Hector Berlioz)

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):