28 Oct 2007
The Coronation of Poppea — English National Opera
For some seasons now, ENO has expressed a commitment to reinforce the role of dance within opera.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
For some seasons now, ENO has expressed a commitment to reinforce the role of dance within opera.
Having collaborated in the past with choreographers including Mark Morris, the company is now two thirds of the way through a Monteverdi opera cycle in collaboration with Chinese-American director Chen Shi-Zheng, the Orange Blossom Dance Company from Indonesia, and the early-music specialist conductor Laurence Cummings. A precedent was set by the opening opera of the cycle in spring 2005 — an Orfeo of spectacularly hypnotic, fluid beauty.
The company début of rising British singer Kate Royal as Poppea was an additional selling point for this second opera in the cycle. She's a glamorous singer, with a polished sultriness in her low-lying soprano, but the stage directions prevented her from painting a convincing character portrait; she spent much of the first act perched high on the deck of Nerone’s luxury yacht (yes, there was a surreal marine theme to the production, with much of the action apparently taking place underwater) which made her untouchable and aloof. Projected images on the backdrop reinforced this idea; she was an icon, virtually a graven image to be worshipped. Despite Royal’s natural poise and elegance, there was little sense of Poppea’s earthy sexiness nor of her calculating ambition.
Lucy Crowe (Drusilla) and Robert Lloyd (Seneca) had an easier time of it, and managed to make something believable of their roles; Christopher Gillett’s Arnalta looked (intentionally) ridiculous but sang very beautifully at times.
Otherwise, the cast was a bit weak and underpowered. It is, perhaps, unfair to blame the singers for this; Monteverdi operas were not designed for a space the size of the Coliseum. Tim Mead's Ottone started off with that slightly yelpy sound which countertenors get when they over-project (though he sorted this out by the second half). Anna Grevelius, as Nerone, sang very sweetly but didn't project any masculinity either vocally or physically - certainly not enough to convince as an egomaniacal ruler. Doreen Curran’s Ottavia had considerable vocal presence, but her characterisation wasn’t aided by the fact that the director had her languishing on top of what looked like a large white pumpkin at the bottom of the sea. Indeed, the costumes and props seemed incidental to the opera, and at times even a hindrance. Sometimes it was more like a fashion show, with wacky structured haute-couture costumes which made me wonder whether we'd accidentally strayed into the Zandra Rhodes-designed Aida a few weeks early.
Katherine Manley (Fortune) / Sophie Bevan (Love) / Jane Harrington (Virtue) and Orange Blossom Dance Co
The Indonesian dance troupe were usually incidental to — indeed, often distracting from — the action rather than providing the unifying, mesmerising presence they supplied to last year’s wonderful Orfeo. The production did have moments of real beauty - like the dancers in the dragonfly costumes rising slowly into the air during "Pur ti miro". And there was great beauty in the music — is it even possible not to make this score beautiful? Laurence Cummings really understands Monteverdian line and seemed to have taken considerable trouble to share this with the cast.
But compared with Orfeo, with its sense of "flow" and constantly visually-arresting use of colour and movement, this Poppea staging was scrappy and disappointing. In truth, the biggest problems were the failure to communicate the humanity of the characters, and the fundamental sense of division between the musical performance and the visual spectacle. Chen Shi-Zheng has shown himself to be yet another director who allows his personal vision for a production to take priority over the work being performed. ENO still has him lined up to direct Il ritorno d’Ulisse and I really hope he engages more with that than he seems to have done with Poppea.
Ruth Elleson © 2007