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

A Merry Falstaff in San Diego

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.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

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.

A Salome to Remember

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.

L’Elisir d’Amore Goes On Despite Storm

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.

Boris Godunov in Marseille

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.

Bartoli a dream Cenerentola in Amsterdam

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.

Winterreise : a parallel journey

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.

Anna Bolena in Lisbon

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.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

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.

A riveting Nixon in China at the Concertgebouw

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.

English song: shadows and reflections

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.

A charming Pirates of Penzance revival at ENO

'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.

A Relevant Madama Butterfly

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.

Johan Reuter sings Brahms with Wiener Philharmoniker

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.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

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.

Verdi’s Requiem with the Berliner Philharmoniker

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.

Jeanne d'Arc au bûcher in Lyon

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.

A New Look at Mozart’s Abduction from the Seraglio

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.

Giasone in Geneva

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.

OPERA TODAY ARCHIVES »

Performances

Robert Dean Smith sings the role of the Emperor in the Paul Curran-directed Die Frau ohne Schatten, a new production for Lyric Opera of Chicago's 2007-08 season. Photo by Dan Rest/Lyric Opera of Chicago.
30 Dec 2007

Chicago stages fantastic “Frau” --- Another View

Do we too easily take Richard Strauss for granted? The question is prompted by the superlative production of “Frau ohne Schatten” that was the highlight of the fall season at the Chicago Lyric Opera.

Above: Robert Dean Smith sings the role of the Emperor in the Paul Curran-directed Die Frau ohne Schatten, a new production for Lyric Opera of Chicago's 2007-08 season.
Photo by Dan Rest/Lyric Opera of Chicago.

 

Although clearly an indispensable presence both in concert hall and opera house, one pauses only rarely to consider the truly monumental dimensions of Strauss’ achievement. And thus one is doubly grateful to the Lyric for the impressive “Frau” directed by Scotland’s brilliantly perceptive Paul Curran. Its excellence both musically and scenically call for reassessment of the debt that owed this composer.

Part of the problem with Strauss — if a problem it is — is that, although he was actively alive during half of the 20th century, he is unthinkingly relegated to the century before, labeled somewhat too easily of “the last Romantic.” It is wiser perhaps to think of Strauss not as “the” end of an age, but rather “an” end of an era still unashamed to sing the “unending melodies” of Wagner. As Edward Said, writing about the 1993 Strauss festival at Bard College observed: “Few composers other than Strauss have lived so undistractedly through so many conflicting upheavals in musical style and conception and at the same time remained so ostensibly unaffected by them.” Indeed, Strauss in his fidelity to the tonal tradition is sometimes compared with his close contemporary Jean Sibelius as a man oblivious to the eruptions on the musical landscape caused by Schoenberg and Stravinsky. The parallels, however, are severely limited in scope. Sibelius worked in a remote corner of Europe, celebrated for his national idiom by a people still waiting political recognition of their identity. Strauss, on the other hand, spent his career deeply involved in the musical life of Munich, Vienna and Dresden and Berlin, each in its way a frontrunner in the musical grandeur of Europe until darkness descended upon the continent with the advent of National Socialism.

It is, however, surprising to read in the largely positive commentary on the Lyric’s production that “Frau” is the “best,” the “major” or the “greatest” product of Strauss’ lengthy collaboration with writer Hugo von Hofmannsthal, for although it can be seen every few years in this country, it lies far behind “Elektra,” “Rosenkavalier” and “Ariadne” in the number of performances on American stages. “Frau” is a formidable work, and the infrequency of productions is due in large part to the Wagnerian demands of the work. Thus the degree, to which the Lyric met them, makes the staging, designed by Kevin Knight and lighted by David Jacques all the more praiseworthy. The five major roles in the opera call for voices that can sing out over an orchestra of 100 players and have the endurance for a performance that runs — with two intermissions — over four hours.

Although the “Frau” of the title is the Empress, the fairy-tale creature from another realm, it is clearly the wife of dyer Barak who is the central figure of the opera. And in her debut in the role Christine Brewer, heard on December 20 in the Lyric Opera House, was a triumph of legendary level. Brewer, who long ago made Ariadne a signature role, is now a major Wagnerian. Her Isolde has been praised on disc and on stage, and she recently sang her first Bru”nnhilde in a London concert performance of “Go”tterda”mmerung.” She is a fascinating singer, for although she has the voice of neither Flagstad nor Nilsson, she brings a humane warmth to her work that causes listeners to identify with the characters she portrays. Although she in no way overlooked the shrew that the Wife is in her scorn for her husband in the first half of “Frau,” even there she evoked sympathy for a very modern woman in an unhappy marriage. And when at her most vehement she sang [italics]; she never shouted or barked. Her suffering was palpable, and when change came, the heart of the audience was torn with her own in her pain-wrought confession to Barak.

And the Lyric could not have cast her next to a better Empress than Deborah Voigt, a veteran in the role. Friendly rivals perhaps as Ariadne, the voices of the two sopranos blended beautifully in this staging — despite the feeling that Voigt no longer sings with quite the radiant ease that made her famous. She understands the Empress fully and gave full vent to the despair that she feels when told that unless she finds a shadow — i.e. becomes a mother to one of the ensemble of children crying for incarnation — her husband will turn to stone. Her opposition to the Nurse’s designs, her confrontation of her father Keikobad and finally her refusal to acquire a shadow at the expense of the Dyer’s Wife were played with genuine feeling.

Inspired perhaps by Brewer, Franz Hawlata, the only non-American among the five leads, sang a singularly sympathetic Barak, a role strictly secondary in most productions. There was nothing one dimensional about Hawlata’s often too self-effacing dyer, and his love for his wife came across as genuinely enduring — despite her treatment of him. He renewed his pledge to her, recalling: “She was placed in my care for me to cherish, to protect in my hands, to look after her and respect her for the sake of her young heart.” He made clear that the words had meaning for him — and for those who heard them. And his three handicapped brothers, usually caricatures of offish bearing, were winningly played by Daniel Sutin, Andrew Funk and John Easterlin. Tenor Robert Dean Smith, a current Bayreuth Tristan, was a strong-voiced and attractive Emperor, especially when he swept down from above on a white stallion. As the Nurse mezzo Jean Grove almost stole the show with her portrayal of a woman essentially in alliance with the “bad guys” of the story. In a comment in the Lyric’s program Grove described the Nurse as “a Type A personality from Hell,” but cautioned: “If she were singing ugly all the time, no one would pay any attention to her.”

Lamentation over the complex and convoluted plot of “Frau” is commonplace, but here the leading roles were all sung with such insight that they became credible women and men in a story in no way beyond everyday imagination. It is much to Curran’s credit that he brought “Frau” down to earth, stressing that despite their roots in fantasy Strauss has made flesh-and-blood humans of Hofmannsthal’s somewhat fantastic figures. Adding to the unforced fluency of the production was the skilled hand of conductor Sir Andrew Davis, the Lyric’s music director, in whom Strauss has a firm friend and ally. Davis stressed not only the drama of “Frau,” but also the melting beauty of a score that almost a century after its 1919 Vienna premiere stands as the valedictory outpouring of the supreme talent of the last great Romantic. In those magic moments when Strauss reduced the orchestra to chamber-music transparency Davis brought true enchantment to the production. Indeed, the playing that Davis evoked from the Lyric’s orchestra gave meaning to Glenn Gould’s designation of Strauss’ product as “ecstatic music.”

Finally, in a personal perspective on the opening remarks on the degree to which Strauss is taken for granted without adequate appreciation of his achievement. The opulence of Chicago’s “Frau” returned me to the Vienna of 1951, where it was my great good fortune to be a student. I saw my first “Rosenkavalier” in the historic 900-seat Theater an der Wien, the home of the Vienna State Opera while the company awaited reconstruction of its war-devastated house on the Ringstrasse.

I thought often of that distant day after the Chicago “Frau,” for Strauss had then been dead for only two years. My first Marschallin was Viorica Ursuleac who had sung the first Arabella in Dresden in 1933. And on the podium — as he had been in Dresden — was her husband Clemens Krauss, closely associated with Strauss not only as a conductor, but further as the librettist for “Capriccio.” I must have seen Ursuleac in the role four times during that year — with little sense of the music history that played before my eyes. Perhaps it is this early experience that accounts for the enduring role that Strauss has played in over half a century of opera, and validates the gratitude that I feel for this production.

Wes Blomster

Click here for another view of Chicago’s Frau.

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):