Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

OPERA TODAY ARCHIVES »

Performances

Kate Royal as Poppea (Photo © Catherine Ashmore)
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.

Claudio Monteverdi: The Coronation of Poppea
English National Opera, 18 October 2007

Above: Kate Royal as Poppea
All photos © Catherine Ashmore courtesy of English National 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.

Poppea_ENO_Ashmore_2007.pngKatherine 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

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):