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

Iphigenie by Anselm Feuerbach (1862)
30 Dec 2007

Iphigénie en Tauride at the Met

Regarded, until the modern vogue for earlier masters, as the senior surviving grand master of opera, Gluck never quite becomes fashionable and never quite vanishes.

Christoph Willibald Gluck: Iphigénie en Tauride

Iphigénie: Susan Graham; Oreste: Placido Domingo; Pylades: Paul Groves; Thoas: William Shimell; Diane: Michele Losier.
Conducted by Louis Langrée. Production by Stephen Wadsworth.
Metropolitan Opera, December 19.

 

Today, when large audiences for older music and older styles of singing have come into being, Gluck’s simplicity and directness of dramatic melody have a chance at genuine popularity. Orfeo is back — indeed, it never went away, or not since Pauline Viardot made it chic to watch a lady wield a toga way back in 1859, and these days it is perfectly respectable for men to sing it as well. I have also seen stagings of Alceste, Armide, Paride ed Elena, Iphigénie en Aulide and Iphigénie en Tauride — the last three times, Gluck’s penultimate work for the stage and generally acknowledged masterpiece. Mozart attended every rehearsal for the Vienna premier in 1779, and one can easily detect its influence in his Idomeneo, composed the following year. Gluck’s influence on the declamatory style of Berlioz and, indeed, Wagner, is instructive: when composers want something “classic” in the style of the Greeks, Gluck, who was anything but Greek, seems the obvious model. He all but channels Euripides — whose plays are the basis for Alceste and both Iphigénies.

Hedging its bets, the Met insured Iphigénie’s success at the box office by presenting Placido Domingo in the usually baritone role of Oreste (and we’d so much rather have him sing Gluck, in any register, than crap like Sly or Cyrano). Having thus guaranteed that all performances would sell out, the Met went on to secure Stephen Wadsworth’s production, whose kinks had been worked out at the Seattle Opera, and the services of Susan Graham in the title role, after hearing her sing it in Chicago and other venues. The mixture worked very well; enthusiasm for all elements was all the Met could have desired, and lovers of Gluck could feel their fidelity justified: the merchandise is as good as its repute.

Musically, it could be argued that the production’s tendency to link number to number, scene to scene, negating the breaks where applause could be signaled, makes it tougher for audiences to grasp: it’s all or nothing. But opera audiences of today are not the ones Gluck had to face — they are now accustomed to long stretches of uninterrupted music-drama. Therefore Wadsworth filled — overfilled, I’d say — “empty” stretches of music, and even moments with no music to cover them, with loud noises so the audience would not applaud a sublime aria, or else with dumb shows, acting and mime, and variously neurotic behavior on the part of his characters. Did Gluck work so hard to take the clutter and irrelevancy out of opera only to have Wadsworth put it back? Here — yes. Oreste is supposed to be crazed, driven mad by the Furies summoned by his mother’s ghost (in Aeschylus’s Eumenides — you remember) to avenge her murder; Gluck famously contrasts his measured vocal line against mad, slashing figures in the string section, a moment subtly underlined by the evening’s expert maestro, Louis Langrée.

But Iphigénie, in my experience, has usually been rather a cold fish — the stern priestess repressing her nightmarish past, such that the revelation of her identity is a shock. In the Wadsworth staging, Graham is anything but cold — she is loonier here than her brother, hurling herself about the stage, clawing the walls. The sense that she and the other priestesses are captives, terrorized into doing the barbarians’ bloody will (which includes human sacrifice) is made superbly real by the two steep rooms into which the set is divided and the way the priestesses huddle in its corners, but I missed the regal distance of Iphigénie that alone seems to explain why she and Oreste take such a long time to come to reveal their names and discover they are brother and sister before the accursed house of Atreus suffers yet another intrafamilial homicide. Graham’s singing, too, though prettily expressive of her throes, lacked that haughty element, that grandeur that is my personal preference for Gluck-lich royalty. She is sweet where Iphigénie should be awesome. As for her desperate attitudes, clutching of walls and self, at times when she has sung of her reconciliation with her fate — this does not expand her character; it denies the power of music, and of Gluck. Gluck, I put it to you, should have the last word here — not Wadsworth or even Graham.

The relationship between Oreste and Pylade, which often has a homoerotic frisson in modern stagings of the opera (that was true in Euripides’ day, too), had nothing of the kind with Domingo in exceptional voice, a dignified, inward, tragic Oreste, and Paul Groves a thrilling Pylade. That element of excess that sometimes comes through their frenetic efforts to die in each other’s stead was not part of the drama on this occasion: they were, rather, back to back against the forces of darkness. William Shimell, as the barbaric King Thoas, sounded gruffer than the opera demands — it was never pleasant to hear him sing.

Iphigénie gave more pleasure than any other new production thus far in the crowded Met season — Wadsworth was engaging with the opera, not forcing it into another mold. Besides the bare, rude grandeur of the temple’s back room set, with its gleams of gold and mysterious lighting, I liked the way several of the opera’s celebratory or orgiastic dances (French opera has always liked more ballet than non-French opera audiences have cared for) took place all-but-off-stage, so that one glimpsed a few ecstatic movements without being distracted from starker doings stage center.

I did object, however, here as in many other productions, to the current style of giving the audience visual cues every step of the way, a style that might be called MTV opera direction: the dumb show at the beginning (for those who have forgotten the story of Iphigenia’s past — which is not likely, and in any case is described later on), the spectacular but undignified descent of the goddess from the ceiling on wires, the appearance of Clytemnestra within the pillar between Oreste and Iphigénie, blessing the two of them — a lovely stage effect but not, I suggest, what the real, vengeful Clytemnestra would have been doing and therefore intrusive.

Perhaps most absurd, why is the statue of the goddess facing away from the stage and the altar? I know they’re barbarians in Tauris (the modern Crimea), but what sort of manna are they invoking from this cult statue? Is it a pun on the “moon” in Diana’s nature? It would be nice to have Mr. Wadsworth explain this particular silliness in the midst of an exciting staging of a masterpiece too seldom heard or seen.

John Yohalem

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):