02 Oct 2007
Carmen at ENO
There is a certain onerous responsibility in developing a new production of Carmen at a major house.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evangeline Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
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You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
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Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
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Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
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There is a certain onerous responsibility in developing a new production of Carmen at a major house.
The theatre will always be full; the audience will contain both opera aficionados who need something they haven’t seen a million times before, and the newcomers who are the holy grail of the opera house’s marketing strategy and who need to be given a reason to return to see other operas in future. There are really two ways one can go — either a fairly traditional staging or an innovative reinterpretation — but above all, it’s important to achieve the near-impossible aim of being all things to all people. The drama needs to be compelling, and preferably interesting too.
It was common knowledge that film director Sally Potter, whose new production opened English National Opera’s 2007/08 season, was to go down the ‘innovative reinterpretation’ route. As such, it was inevitable that this most familiar of operas would be removed from its familiar setting in order to rid it of its well-worn stereotypes.
So where was it set? Good question. The first act, with its music full of sunshine and midday heat, was set in some dimly-lit wasteland populated by security guards (in place of soldiers) and cheap whores (in place of cigarette girls). Who were they to us? It was impossible to recognise these people or to empathise with them — and it was impossible to follow the thread of the drama, as the decision to cut all dialogue reduced the opera-comique structure to a song-and-dance show.
It became clear later on that we were probably supposed to be in Britain: in the final act we headed for the customary Spanish bullring, with the chorus as a horde of boorish British tourists (enabled by Christopher Cowell’s very liberal translation). So why, for the first three acts, were none of the characters recognisable to a British audience — and what on earth was a star Spanish toreador (David Kempster) doing in a bar in an English back street? Surely the coincidental appearance of a key character in an entirely unlikely situation is one of the most enduring of operatic clichés, and therefore anathema to Potter’s concept (it didn’t appear to be intentionally ironic). The third act of course took place at an airport, the home of the present-day smuggler; you can imagine why three girls might have a go at fortune-telling to pass the time, but not why one of their number might take it quite so seriously.
Fullstage with Alice Coote (Carmen) in foreground
There were some striking moments - tellingly, they were those where the singers were left to sing, as if in concert, against an almost plain backdrop. Micaela and José’s duet benefitted from this; so did Micaela’s aria, lustrously sung by the young American soprano Katie van Kooten in her company debut. The final scene was quite riveting, with José maniacally terrifying and Carmen an emotional wreck.
Fortunately there was also plenty of energy in the music. ENO’s new Music Director, Edward Gardner, conducted with poised tension and enjoyed the climaxes, and there was a lot of fine singing, not least in the title role. According to the press release and some of the advance publicity, Alice Coote was recovering from a viral infection — there was no announcement before the performance, and she sounded on fair if not top form. The problem was that she was seriously miscast. Although the veiled smokiness of her mezzo brings something very alluring to the role, it’s not a voice equal to the weight of the music and, more troublingly, her body language simply didn’t match it. She moved awkwardly, and was not helped by her costumes — for most of the opera she was incongruously dressed like a traditional Carmen. Opposite her, Julian Gavin was a blazingly passionate and believable Don José once he got going, but David Kempster failed to bring the necessary vocal suavity to Escamillo.
Ironically, the operatically-inexperienced Potter’s intention to escape cliché resulted in a production in the manner of many of ENO’s productions of the past few years (bearing a particularly strong resemblance to David Freeman’s controversial Otello in 1998) punctuated by some Spanish flavour supplied by unremarkably-choreographed tango dancing. Whatever the intention, a disservice was done to the piece, and to opera buffs and newcomers alike. Although the third and fourth acts worked reasonably well on their own terms, it was Sally Potter’s Carmen, not Bizet’s.
Ruth Elleson © 2007