02 Oct 2007
Carmen at ENO
There is a certain onerous responsibility in developing a new production of Carmen at a major house.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.
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