Recently in Performances
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of
the Ring cycle at the Washington National Opera (WNO), it is safe to
say that the long-anticipated production has been an unqualified success for
the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found
myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been
supporting the careers of outstanding young artists for 60 years, and the 90th
birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to
England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in
return for modern-dress Shakespeare (how quaint that term seems now, as if
anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look
Back in Anger, I have been curious about the possibilities of
‘down-dating’, as I suppose we might call it. Rarely, if ever, do
we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus
Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb
Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his
There can’t be that many operas that start with an extended solo for
double bass. At Holland Park, the eerie, angular melody for lone bass player
which opens Pietro Mascagni’s Iris immediately unsettled the
relaxed mood of the summer evening.
George Souglides’ set for Will Tuckett’s new production of
Rossini’s L’italiana in Algeri at Garsington would surely
have delighted Liberace.
Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Distinguished theatre director Michael
Boyd’s first operatic outing was his brilliant re-invention of
Monteverdi’s L’Orfeo for the Royal Opera at the Roundhouse
in 2015, so what he did next was always going to rouse interest.
Although Bohuslav Martinů’s short operas Ariane and Alexandre bis date from 1958 and 1937 respectively, there was a distinct tint of 1920s Parisian surrealism about director Rodula Gaitanou’s double bill, as presented by the postgraduate students of the Guildhall School of Music and Drama.
The eyes of the opera world turned recently to Dresden—the city where Wagner premiered his Rienzi, Fliegende Holländer, and Tannhäuser—for an important performance of
Lohengrin. For once in Germany it was not about the staging.
Having been privileged already to see in little over two months two great productions of Die Meistersinger, one in Paris (Stefan Herheim) and one in Munich (David Bösch), I was unable to resist the prospect of a third staging, at Glyndebourne.
‘Mack does bad things.’ The tabloid headline that convinces Rory
Kinnear’s surly, sharp-suited Macheath that it might be time to take a
short holiday epitomizes the cold, understated menace of Rufus Norris’s
production of Simon Stephens’ new adaptation of The Threepenny
Opera at the Olivier Theatre.
16 Jan 2008
A New Hansel und Gretel at the Met
Wagner’s all-conquering chic made apocalyptic music-dramas drawn from folklore the ideal of the nationalistic era; every serious opera composer of the time felt obliged to attempt something in that line.
Ironically, the only
one of these faux-Wagnerian epics that became (and remained) a popular hit
was Humperdinck’s 1893 setting of a Grimm fairy tale, which achieved the
perfect union of tunes kids could appreciate (and even sing themselves — he
wrote them for his sister’s children) and orchestral method that savors of
Meistersinger. Hansel und Gretel makes use of Wagnerian
counterpoint without all those embarrassing Wagnerian emotions, both immoral
and illegal — Hansel and Gretel do not go running joyously into an amorous
Gertrude (Rosalind Plowright) and Peter (Alan Held)
In the present era, when children imagine themselves too sophisticated for
fairy-tale kitsch (though they still love it in the right circumstances, and
the old Met production was perfect of its kind), when they are raised on
sarcastic cartoon banter and an After-School Special level of squalor, it
seems that the presentation of Hansel und Gretel must modernize too.
Hence the new Met staging, borrowed from the Welsh National Opera with a
number of Brit trappings, such as a Witch in drag out of panto. The titular
children, when we meet them, resemble shell-shocked raggedy dolls, listless
and starving on oversized chairs in a low-rent kitchen. Later they fall
asleep in a forest that resembles a very large dining room (terrific
scary-forest wallpaper out of a Maurice Sendak tale and nightmarish waiters
with branches for heads), dreaming not of angels but of Pillsbury doughboy
chefs. The Witch lives in an industrial kitchen suitable to a summer camp and
appears (in Adam Klein’s delicious performance) to be doing Julia Child and
Dame Edna in tandem. Papa probably drinks and Mama is haggard from overwork
(we are plainly dealing with latchkey kids here), and the dreams are not of
Godly salvation but of gaudy desserts.
Hansel (Alice Coote), Gretel (Christine Schaefer) and Chefs/Angels
There’s a lot of good fun on the stage — what kid won’t snicker at a
grown man in drag? — but will this do for holiday resurrection year upon
year, as the fairy tale staging did? Or will once or twice do it? And will
the kids have nightmares from those tree-waiters? I did. A friend of mine
encountered a subway car full of kids after one of the special matinees of
this production, and much as they’d loved the witch, the enormous
machine-propelled Mouth that invites our heroes into her house was not their
idea of fun.
The Witch (Adam Klein)
There is a lot of good Wagnerian melody coming from the orchestra under
Vladimir Jurowski and a lot of good singing from the soloists, and the
staging ideas, if they don’t all make sense, pass the time entertainingly.
The Sandman (Sasha Cooke), Hansel (Alice Coote) and Gretel (Christine Schaefer)
The piece is performed in an updated translation that sometimes fights with
the old-fashioned music, and Christine Schaeffer as Gretel, the only singer
in the cast who was not a native English-speaker, had some problems getting
her words across — but that’s what subtitles are for. She and Alice Coote
(a fine Sesto and Octavian — will I ever see the charming Ms. Coote in a
girl’s role?) produce clear, reliably sexless vocal lines — these two
proto-Wagnerian characters must carry over a Wagnerian orchestra with
apparent childish ease — and they had fun mingling the demands of the
libretto with moves borrowed from modern video. Rosalind Plowright looked
like a harried denizen of Coronation Street, but the mother’s role is by no
means a simple one, and she sang it effectively. Alan Held filled the theater
with impressive vigor as the father — it was no surprise after this
performance to learn he is preparing Wotan for the D.C. Ring
The Dew Fairy (Lisette Oropesa)
Lisette Oropesa sang the Dew Fairy sweetly in hotel chambermaid drag. In
short, the piece came off, the Witch got her madcap laughs (we all liked the
paper sleeves she placed on Hansel’s wrists and ankles before baking), and
there was joy to share. What more does one ask of this opera? Magic?
Of genuine magic there was only one moment all night: the aria of the
Sandman, as sung by Sasha Cooke of the Met’s Lindemann Young Artists
Program: a light, clear voice, seemingly tiny but produced so that it easily
filled the house and fell on each ear like fairy dust, a subtle staging that
was, for once, not an intrusion but a rare visit from the atmosphere of Grimm
to a corrupted world.