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?
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.