24 Oct 2007
Der Freischütz at Oper Köln
Do you remember a moment when a piece, new to you, so engaged you that you immediately wanted to know more. . .or all about it?
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
Do you remember a moment when a piece, new to you, so engaged you that you immediately wanted to know more. . .or all about it?
I can recall, as a student, hearing a guest concert by the Bavarian Radio Symphony in Chicago’s Orchestra Hall that opened with Carlos Kleiber leading a thrilling reading of the overture to Weber’s “Der Freischütz.” (Every chestnut was once new to those who hadn’t heard it before, right?)
After this “teaser,” I discovered that the whole opera was not only under-represented on recordings at the time, but also that in America it was hardly ever seen at all, remaining more talked about than performed. The reason for the neglect of this “first German opera” is perhaps partly because of extended dialogue scenes which have trouble making their effect in cavernous theatres; partly because of a pervading mysticism that can seem rather silly today (except maybe to adherents of L. Ron Hubbard); and the notoriously difficult staging demands needed to credibly bring off the rather clunky dramaturgy of the “Wolf’s Crag” scene (which can so easily become so very cheesy).
More’s the pity that it is so rarely attempted, because I find much of the music sublime, that is, if you have the singers to meet its challenges. And therein perhaps lies the real reason for its neglect, since there are certainly other pieces that are dialogue heavy and dramatically “challenging” that get regular mountings (“Die Zauberflöte” comes to mind). Weber’s opus not only requires a hero and heroine with sizable, flexible heroic voices, but a bass-baritone with chords of steel. All are called upon to maintain a mounting and plausible tension in the plentiful dialogue.
Happily, in Germany, “Freischütz” is attempted much more often, though still not nearly with the frequency of other mainstream masterpieces. In my experience the two separate Frankfurt productions (one memorable only for a terrific Angela Denoke, the other for the goofiness of having the hunters got-up as Hassidic Jews); the Achim Freyer version in Stuttgart (which others liked much more than I); and even a well-meant staging in Seattle with (a slightly mis-cast) Deborah Voigt; all left me admiring individual components but none adding up to a total package. Until now.
Cologne Opera has unveiled a new staging under the sure direction of Michael Heinicke, with a pleasing traditional set and costume design by Jens Kilian, all quite beautifully lit by Hans Toelstede. Just when you thought you may never see the like again, here is a “take” with - *gasp* - actual pretty dirndls and proper-looking hunters, and a huge, gorgeous, many-branched tree that fills the stage. In the first flush of fall, its leaves just turning, and beautifully lit, it elicited gasps at curtain rise. “Agathe’s” room was a skeletal “wall” frame of 4 X 4's, sparsely furnished, through which the ever-present tree kept nature smack at the center of things.
Mr. Heinicke is an unfussy director who, blessedly, does not seem to need to impose much of anything but common sense and strong stage pictures onto the piece. Almost everything and everybody is what or who they are supposed to be. He has elicited sincere and affecting performances from an excellent cast. However, perhaps out of obligation to do something “modern,” there are one or two moments when “Freischütz” misfires.
Just after Max loses the initial shooting contest, the taunting chorus is suddenly joined by a sextet of actual pit musicians, playing onstage in their concert attire, who join in tormenting him. Too, there is a piece of business in which “Agathe” pretends to play a cello as accompaniment to “Ännchen’s” aria. She is so clearly not playing it that it only distracts. And, in a “what-does-that-mean?” moment, “Ännchen” places the flower arrangement on the lip of the stage mid-Act I, next to the prompter’s box, where it remains until picked up again when the flowers are required in Act II. I would hope that some consideration would be given to tweaking these jarring bits, because for the rest of the evening I thought the staging had most everything one could want.
The acting was not only believable, but for once the declamation was not of the phoney- baloney Dudley Do-Right School of Operatic Elocution. “Samiel” (Joachim Berger) was a looming and evil omni-presence who eerily appeared up in the crook of the tree, evaporated into the darkened background at will, and attempted complete control over the turns-of-events, including a sinister hovering during “Agathe’s” second act aria. The “Hermit” (Wilfried Staber) too had several silent and mysterious appearances long in advance of his usual sung entrance late in Act II.
The fine young Croatian baritone Miljenko Turk (wonderful as “Billy Budd” last season) brought beauty of tone and attractive demeanor to “Ottokar.” Katharin Leyhe’s “Ännchen” was not just the usual chirpy kewpie doll, but had a tall, solid physique du role and brought some welcome starch to her characterization, producing some lovely lyric singing in the bargain. Venerable bass Ulrich Hielscher made a perfect fatherly “Kuno.” He was also feted at curtain call for his 30 years service with the company, by being made a “Kammersaenger.”
Lithuanian soprano Ausrine Stundyte had just the right amount of heft and metal in her pleasing sound to make a winning Agathe. The hushed “Leise, leise” was beautifully internalized, and the soaring stretto section delivered all the goods. She was totally committed to the Nervous Nellie characterization that was asked of her. Indeed, I thought she was going to have a nervous breakdown in several moments -- at least I hope she was acting! (It was reminiscent of Judy in her later years. . .)
Thomas Mohr was a splendid Max. While his firm lower-voiced singing displays some signs of his former life as a baritone, the top rings true, his sense of line is commendable, his dramatic commitment is effectively varied, and he poured out beautiful sound all night long in all registers. We may have gotten spoiled, wishing every leading tenor could look like Juan Diego Florez or William Burden, and that Mr. Mohr does not. But he exuded a genuine, conflicted appeal nonetheless, albeit more in the Paul Giamatti mode.
The knockout performance this night came from the completely mesmerizing, thrillingly sung “Kaspar” of Korean bass Samuel Yuon. His focused, steely tone cut through the orchestra with ease, and his fiery melismatic work was right on the money. Moreover, he avoided every cliche that has encumbered this role in the past with acting of amazing nuance. Even the sometimes hokey asides of “Hilft, Samiel” hit their mark. His star turn in the “Wolf’s Crag” conjuring scene was awesome. I should add that he was ably abetted by some very good, strobe-like lighting effects which made the static tree actually seem to move about.
Memory having the ennobling effect that it does, I suppose nothing will ever completely over-ride my first happy encounter with the opera’s overture those many years ago. But I found Enrico Delamboye’s conducting to be very well-considered overall. He favored faster tempi than some, with the bridesmaid’s tune and a couple of the choruses especially quick-paced. There was a brief scrappy moment or two, like the opening bars of the overture’s first agitato and a slight hiccup in the opening chorus. But even in the relatively dry acoustic of the Cologne house, the Guerzenich Orchestra, chorus and cast responded to him with often expansive, always persuasive Romantic music-making of a very high order.
If you, too, have longed for an encounter with the best of all possible performances of “Der Freischütz,” well, this could very likely be the one you’ve been waiting for.