02 Oct 2007
Carmen at ENO
There is a certain onerous responsibility in developing a new production of Carmen at a major house.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
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