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?
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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.