Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

Montemezzi: L’amore dei tre Re

Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed follows foul deed until the corpses are piled high. 

Prom 4: Andris Nelsons

The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution of the CBSO to this concert.

BBC Proms: The Cardinall’s Musick

When he was skilfully negotiating the not inconsiderable complexities, upheavals and strife of musical and religious life at the English royal court during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined that more than 450 years later people would be queuing round the block for the opportunity spend their lunch-hour listening to the music that he composed in service of his God and his monarch.

Oberon, Persephone and Iolanta at the Aix Festival

Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.

Betrothal and Betrayal : JPYA at the ROH

The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.

Jenůfa Packs a Wallop at DMMO

There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.

Des Moines Fanciulla a Minnie-Triumph

The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.

First Night of the BBC Proms 2015

First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.

Monsters and Marriage at the Aix Festival

Plus an evening by the superb Modigliani Quartet that complimented the brief (55 minutes) a cappella opera for six female voices Svadba (2013) by Serbian composer Ana Sokolovic (b. 1968). She lives in Canada.

Des Moines: A Whole Other Secret Garden

With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.

Seductive Abduction in Iowa

Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.

A Midsummer Night’s Dream, Garsington Opera

Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).

Richard Wagner: Tristan und Isolde

What do we call Tristan und Isolde? That may seem a silly question. Tristan und Isolde, surely, and Tristan for short, although already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.

OPERA TODAY ARCHIVES »

Performances

Karita Mattila (Photo by: Robert Millard )
01 Oct 2007

JANÁČEK: Jenůfa

Across the country from Los Angeles, the Metropolitan Opera has opened its 2007-08 season with big stars (Netrebko, Alagna, Dessay, Giordani) in juicy, melodic operas by Donizetti and Gounod.

Leoš Janáček: Jenůfa
Los Angeles Opera, 30 September 2007

Above: Karita Mattila (Photo by: Robert Millard)

 

But at the Dorothy Chandler, the Los Angeles Opera chose to commence their season with two unquestionable masterpieces of darker colors, less likely to be thought of as “crowd-pleasers.” Beethoven’s Fidelio premiered first, with a stunning cast of relatively new names (Anja Kampe and Klaus Florian Vogt).

On September 27th Janáček’s Jenůfa opened, with the great and glorious Karita Mattila in the lead. Seen at the second performance on Sunday, 30 September, Oliver Tambosi’s now well-traveled production provided a reliable if not exactly memorable staging for a high-powered musical success. Music Director James Conlon appeared again at the pre-lecture (as is very much his wont), to speak with revivalist passion about the merits of Janacek’s opera, now over a century old and yet still not quite beloved enough to make such urgent declarations of merit unnecessary. But as Conlon said, once the audience is in the house for a performance, the opera makes its own case, and better than any speaker can.

Sunday’s performance certainly won over the matinee crowd. At intermission some members spoke admiringly about the dramatic vocals, while wondering about the significance of Tambosi’s core concept: a boulder breaking through the ground in act one, crowding the stage in act two, and broken into rocks and stones for the final act. As the beautiful Jenůfa hides in her step-mother’s house, scarred by her frustrated admirer Laca and recovering from the delivery of the child she produced with the handsome scoundrel Števa, she cries out that she feels as if a stone is crushing her. Apparently that one line provided for Tambosi his entry into the heart of the drama, but when the boulder becomes the primary visual reference, the literal depiction of the metaphor reduces the complexity of the drama, rather than supporting it. The tension of act two, at any rate, certainly does not benefit from giving some of the less serious members of the audience the temptation to giggle, as characters feel their way around the huge boulder in their living room.

But the roar of adulation that greeted the singers and conductor Conlon at the end of the afternoon proved that even the questionable qualities of Tambosi’s setting could not lessen the impact of this performance. Mattila owns the title role, and she remains in her glorious prime. An athletic performer, she could subtly suggest Jenůfa’s youth just through her posture, while incautiously throwing herself around the stage in the dynamic second act. Then in the third, after her almost hysterical outburst at the discovery of the body of her child (murdered by her step-mother in a desperate bid to save her stepdaughter from a shamed and lonely life), Mattila projected a wise and loving forgiveness, even standing stock still. Her singing approached the flawless, with only one high climax finding her reaching up a bit tentatively. Tambosi’s set does have the virtue of high walls, intersecting at the rear, which projects the voices out into the huge space of the Dorothy Chandler. Mattila had the power when she needed it, and could pull back into shades of detail as needed. She is, quite simply, an astounding artist.

As the step-mother Kostelnička, Eva Urbanová came through where it mattered most, in the powerhouse histrionics of act two. Not the actress that Mattila is, Urbanová nevertheless has the sort of edgy, penetrating vocal production perfect for the role, and her commitment helped make the audience understand both the cruel reasoning behind her decision to kill her stepchild and the ability of Jenůfa to forgive her.

The plain but honest quality of Kim Begley’s voice perfectly suits the character of Laca, as does his masculine appearance, which contrasts well with the boyish but callow handsomeness of Jorma Silvasti’s Števa. Silvasti was a late replacement for the young tenor Joseph Kaiser, who took a prime assignment at the Metropolitan. Perhaps this change was just as well, as the trip of Mattila, Begley, and Silvasti made a convincing assembly of peers, all of approximately the same age and all well experienced in their roles.

The LAO orchestra has not played a Janáček score for well over a decade, and Conlon has some more work to do to make the players fully comfortable with the spiky idiom of the composer. With Conlon’s impassioned leadership, Sunday’s performance still had all the power needed, especially for the heart-tugging lyrical outburst at the climax. Act one, however, felt a bit tentative.

So after two very successful productions of Fidelio and this Jenůfa, LAO will return to the tried and true with productions of Don Giovanni and Puccini’s ubiquitous Bohemians, under other conductors. Conlon returns in the 2008 half of the season, with Tristan und Isolde, Otello, and this season’s edition of Conlon’s “Recovered Voices” series, a double-bill of Zemlinsky and Ullman one-acts. All in all, LAO can’t compete with the Met for star-power or technical innovation, but when it comes down to the actual performance, the company may never have been better.

Chris Mullins

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):