Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Semiramide at the Rossini Opera Festival

The pleasures (immense) and pain of Gioachino Rossini’s Semiramide (Venice, 1823). Uncut.

L’equivoco stravagante in Pesaro

L’equivoco stravagante (The Bizarre Misunderstanding), the 18 year-old Gioachino Rossini's first opera buffa, is indeed bizarre. Its heroine Ernestina is obsessed by literature and philosophy and the grandiose language of opera seria.

BBC Prom 44: Rattle conjures a blistering Belshazzar’s Feast

This was a notable occasion for offering three colossal scores whose execution filled the Albert Hall’s stage with over 150 members of the London Symphony Orchestra and 300 singers drawn from the Barcelona-based Orfeó Català and Orfeó Català Youth Choir, along with the London Symphony Chorus.

Prom 45: Mississippi Goddam - A Homage to Nina Simone

Nina Simone was one of the towering figures of twentieth-century music. But she was much more than this; many of her songs came to be a clarion call for disenfranchised and discriminated against Americans. When black Americans felt they didn’t have a voice, Nina Simone gave them one.

Sincerity, sentimentality and sorrow from Ian Bostridge and Julius Drake at Snape Maltings

‘Abwärts rinnen die Ströme ins Meer.’ Down flow the rivers, down into the sea. These are the ‘sadly-resigned words in the consciousness of his declining years’ that, as reported by The Athenaeum in February 1866 upon the death of Friedrich Rückert, the poet had written ‘some time ago, in the album of a friend of ours, then visiting him at his rural retreat near Neuses’. Such melancholy foreboding - simultaneously sincere and sentimental - infused this recital at Snape Maltings by Ian Bostridge and Julius Drake.

Glimmerglass’ Showboat Sails to Glory

For the annual production of a classic American musical that has become part of Glimmerglass Festival’s mission, the company mounted a wholly winning version of Jerome Kern and Oscar Hammerstein II’s immortal Showboat.

Proms at ... Cadogan Hall 5: Louise Alder and Gary Matthewman

“On the wings of song, I’ll bear you away …” So sings the poet-speaker in Mendelssohn’s 1835 setting of Heine’s ‘Auf Flügeln des Gesanges’. And, borne aloft we were during this lunchtime Prom by Louise Alder and Gary Matthewman which soared progressively higher as the performers took us on a journey through a spectrum of lieder from the first half of the nineteenth century.

Glowing Verdi at Glimmerglass

From the first haunting, glistening sound of the orchestral strings to the ponderous final strokes in the score that echoed the dying heartbeats of a doomed heroine, Glimmerglass Festival’s superior La Traviata was an indelible achievement.

Médée in Salzburg

Though Luigi Cherubini long outlived the carnage of the French Revolution his 1797 opéra comique [with spoken dialogue] Médée fell well within the “horror opera” genre that responded to the spirit of its time. These days however Médée is but an esoteric and extremely challenging late addition to the international repertory.

Queen: A Royal Jewel at Glimmerglass

Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.

Blue Diversifies Glimmerglass Fare

Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.

Vibrant Versailles Dazzles In Upstate New York

From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.

Gilda: “G for glorious”

For months we were threatened with a “feminist take” on Verdi’s boiling 1851 melodrama; the program essay was a classic mashup of contemporary psychobabble perfectly captured in its all-caps headline: DESTRUCTIVE PARENTS, TOXIC MASCULINITY, AND BAD DECISIONS.

Simon Boccanegra in Salzburg

It’s an inescapable reference. Among the myriad "Viva Genova!" tweets the Genovese populace shared celebrating its new doge, the pirate Simon Boccanegra, one stood out — “Make Genoa Great Again!” A hell of a mess ensued for years and years and the drinking water was poisonous as well.

Rigoletto at Macerata Opera Festival

In this era of operatic globalization, I don’t recall ever attending a summer opera festival where no one around me uttered a single word of spoken English all night. Yet I recently had this experience at the Macerata Opera Festival. This festival is not only a pure Italian experience, in the best sense, but one of the undiscovered gems of the European summer season.

BBC Prom 37: A transcendent L’enfance du Christ at the Albert Hall

Notwithstanding the cancellation of Dame Sarah Connolly and Sir Mark Elder, due to ill health, and an inconsiderate audience in moments of heightened emotion, this performance was an unequivocal joy, wonderfully paced and marked by first class accounts from four soloists and orchestral playing from the Hallé that was the last word in refinement.

Tannhäuser at Bayreuth

Stage director Tobias Kratzer sorely tempts destruction in his Bayreuth deconstruction of Wagner’s delicate Tannhäuser, though he was soundly thwarted at the third performance by conductor Christian Thielemann pinch hitting for Valery Gergiev.

Opera in the Quarry: Die Zauberflöte at St Margarethen near Eisenstadt, Austria

Oper im Steinbruch (Opera in the Quarry) presents opera in the 2000 quarry at St Margarethen near Eisenstadt in Austria. Opera has been performed there since the late 1990s, but there was no opera last year and this year is the first under the new artistic director Daniel Serafin, himself a former singer but with a degree in business administration and something of a minor Austrian celebrity as he has been on the country's equivalent of Strictly Come Dancing twice.

BBC Prom 39: Sea Pictures from the BBC National Orchestra of Wales

Sea Pictures: both the name of Elgar’s five-song cycle for contralto and orchestra, performed at this BBC Prom by Catriona Morison, winner of the Cardiff Singer of the World Main Prize in 2017, and a fitting title for this whole concert by the BBC National Orchestra of Wales conducted by Elim Chan, which juxtaposed a first half of songs of the sea, fair and fraught, with, post-interval, compositions inspired by paintings.

BBC Prom 32: DiDonato spellbinds in Berlioz and the NYO of the USA magnificently scales Strauss

As much as the Proms strives to stand above the events of its time, that doesn’t mean the musicians, conductors or composers who perform there should necessarily do so.

OPERA TODAY ARCHIVES »

Performances

Der Freischutz at Oper Koln
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?

Carl Maria von Weber: Der Freischütz

All photos © Klaus Lefebvre courtesy of Oper Köln

 

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.

Freischutz_Koln4.png

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.”

Freischutz_Koln3.png

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.

Freischutz_Koln2.png

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.

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):