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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

Michael Slattery (© George Mott/Glimmerglass Opera)
16 Aug 2007

Monteverdi’s “L’Orfeo”, Glimmerglass 2007 — Slattery rises to Alden’s challenging concept

The first masterpiece in the history of opera. That’s a tall order to live up to for any company and for any band of singers, especially those at the beginning of their careers.

Above: Michael Slattery in Monteverdi’s L’Orfeo
Photo: © George Mott/Glimmerglass Opera

 

But that’s what Glimmerglass Opera is all about — pushing young singers on the cusp of international careers into the limelight with challenges of this sort of calibre. Luckily for them, this is an opera that has enjoyed a wealth of thought-provoking productions all around the world in the past two decades, and an audience now much more at ease with early 17th century musical forms than at any time since L’Orfeo’s first performance 400 years ago.

To quote Gustav Leonhardt, Monteverdi “turned a page of musical history and started to write a new chapter full of daring harmonies and (previously) unheard human passions.” Unfortunately there is a dearth of instructions from the composer and so nothing is writ in stone — yet, down through the years and certainly in the many 20th and 21st century recordings of L’Orfeo, all sorts of ideas as to how this juxtaposition of instrument and voice might be realised have been attempted. However, one thing is certain: he demanded the supremacy of the individual human voice in its eternal quest for psychological and dramatic truth. So that too has to be a priority of any staging: the voices and the story they tell must shine clear and unobstructed by any misguided directorial conceits.

On that subject, this production directed by one of opera’s current enfant terribles, Chris Alden, certainly tried the patience of many in the audience. Having attended its premier at Opera North in England last year, I was intrigued to see how Alden’s conceits had travelled to this very different house, and different singers. I wrote then: “You don’t get very much more classic than the opera that virtually invented the art-form, and Christopher Alden has most decidedly set out to challenge a few well-worn notions of this favola in musica.” Indeed he does, and on second acquaintance, I can’t say that I’m any more enamoured than I was first time around. It’s patchy; and although the idea of Orfeo as a troubled artist/singer in some sort of faux ducal palace works very well, the eliding of certain essential parts of the story — such as Eurydice’s rescue and second death — just jar the sensibilities too much, as do many of the bits of rather tired post-modernistic little “business” that the singers have to carry. Endless yards of sticky tape (to confine Eurydice to Hades and also to represent the Styx and now played more for laughs) and dozens of un-lit cigarettes get boring so quickly. Having said that, as this is the Glimmerglass Orpheus festival, in celebration of the great story’s many transmogrifications, perhaps the challenging Alden approach is what’s needed to keep the adrenaline running?

The pivotal and dominating role is of course that of Orfeo himself, where muse and myth fuse into the legendary singer who descended into the underworld to bring back his dead wife Eurydice, yet failed in the final moments. The essential difference between first run in Leeds, and here was the Orfeo. Paul Nilon in England concentrated on projecting a quite limpid, gentle, musical soul whose journey and eventual failure seemed oh-so-human and sympathetic. Here, Michael Slattery, a young American tenor and Juilliard graduate, was a very different kettle of fish. Resembling more a wild, wilful and wasted rock star of the 80's or 90's, his lithe body often seeming to project emotion and nervous energy as clearly as his admirably coloured tenor. His second act vocal climax, the virtuosic "Possente spirto", where the singer has to “audition” his way past Caronte at the gates of Hell, is 10 minutes of some of the most difficult vocal writing that Monteverdi (or his contemporaries) ever committed to paper. Slattery’s performance was a lesson in dramatic singing - the young poet/singer grew more desperate, more anxious, as his words seemed to fail him in his quest. If some tonal beauty was lost in the service of the drama, then it was a risk worth taking.

He was well supported by some spirited and effective singing from the rest of the cast, who doubled as the Chorus, although some were more committed to (and comfortable with) early music performance practice than others. Of note were Megan Monaghan as Eurydice/Speranza and bass Christopher Temporelli as Pastore 4/Pluto.

Matching them and Slattery in musical commitment was the orchestra under Antony Walker whose strong musical sense and understanding of idiom enabled the period instrument-augmented Glimmerglass Opera Orchestra to sound remarkably “authentic”. At this sort of festival with five widely varying works in repertory through the summer, one cannot expect scholarly exactitude from the players or the instruments they use — but with some clever adjustments (such as substituting the original cornetti with muted piccolo trumpets) and additions (three theorbos to augment the continuo accompaniment) Walker and his players gave a most satisfactory approximation to the real thing.

© Sue Loder 2007

Performances continue August 14th, 17th, 20th, 23rd, and 25th.

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

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):