Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

Expressive Monteverdi from Les Talens Lyriques at Wigmore Hall

This was an engaging concert of madrigals and dramatic pieces from (largely) Claudio Monteverdi’s Venetian years, a time during which his quest to find the ‘natural way of imitation’ - musical embodiment of textual form, meaning and affect - took the form not primarily of solo declamation but of varied vocal ensembles of two or more voices with rich instrumental accompaniments.

OPERA TODAY ARCHIVES »

Performances

Il tabarro--Željko Lučić (Michele), Elza van den Heever (Giorgetta), Kind von Giorgetta und Michele (Statisterie der Oper Frankfurt)
17 Mar 2008

Frankfurt's Ship of Fools

As Anna Russell might say: "The three operas of Puccini's 'Il Trittico' take place on a luxury cruise liner. . . . . On it."

Giacomo Puccini: Il Trittico
Oper Frankfurt

Above: Il tabarro — Željko Lučić (Michele), Elza van den Heever (Giorgetta), Kind von Giorgetta und Michele (Statisterie der Oper Frankfurt)
All photos courtesy of Oper Frankfurt.

 

Except they don't. Except, that is, in Frankfurt Opera's new production staged by Claus Guth and designed by Christian Schmidt, with imaginative costumes contributed by Anna Sofie Tuma.

Not that this is frivolously considered. It's not. And not that it's not very handsome indeed to look at. It is. Seldom has the famous Frankfurt turntable been used to better advantage than in swinging this elegant, white, two-level ship back and forth, always smoothly and soundlessly, revealing a suite, a bedroom, a first class bar, a hint of an open deck, a chapel, an imposing stair to the upper level, and a lounge. Messrs. Guth and Schmidt are seeking, nay stretching to find a metaphor here, and the unifying ideas they stress to be common to these three one-acters are, I believe, two:

  1. People make foolishly bad decisions and have to suffer the consequences, reaping what they sow.
  2. Coping with the death of a loved one (or "tolerated one," as with "Buoso") is a defining Life Moment.
Let's add a third: In the midst of life we are in the midst of death. Or does this production team consider it the other way around? At one point in the evening, my colleague leaned over and summoned "Sixth Sense," quipping: "I see Dead People." There were enough ghosts floating around to people a decent revival of "Poltergeist."

Back to the ship, just how much about those two "discussion bullets" above actually "floats" in the context of these one-acters? Truth to tell, not so very much. For the first act, Schmidt's elegant setting was assuredly not the original milieu of the score's dock workers and Seine denizens, and the honking and tooting of the industrial river traffic in the score seemed rather comically out of place with the surroundings. And what are those rough-and-tumble stevedores doing in a ship's classy bar anyway?

That said, "Il Tabarro" was exceptionally well-blocked, and the direction of the character relationships throughout the night was nothing short of electrifying. The "Luigi-Giorgietta" duet ('scuse me, Giacomo) is B-level Puccini. But the total commitment of the lovers, and the uninhibited erotic longings of our heroine transformed this passage into one of the hottest operatic encounters I have ever seen. Pawing her prey, this soprano-as-sex-kitten had a powerful itch and wanted it scratched; rubbing and purring, cooing and grinding, and creating heat not usually found on the operatic stage.

This was due in no small measure to the thrilling "discovery" of soprano Elza van den Heever ("Giorgietta"). In her first professional appearances ever, Ms. Heever gave a star-making performance characterized by uninhibited acting, beauty of form, and a highly polished lirico-spinto sound that had a touch of metal in the big declamations. The opera world needs singers of her caliber and she should go far. She was well-partnered by the experienced "Luigi" of Frank van Aken, also quite a fearless performer, who commands a robust. well-schooled, if slightly muscular tenor.

"Michele" and "Giorgietta's" beautifully voiced duet was imagined as a love-hate encounter that too created its own sparks. Among the white-clad spirit figures peopling each act was, in this duet, the couple's dead Love Child, playing with a makeshift folded paper boat, moved portentously in and about the action. As "Michele" forcibly kept his wife wrapped in the cloak, the child got seamlessly trapped with the pair in the garment during, providing an unforgettably haunting, chills-inducing image.

suorangelica.pngSuor Angelica — Angelina Ruzzafante (Suor Angelica, links oben), Ensemble

Only the critical fight scene when "Michele" chokes "Luigi" was rather meekly staged. Okay, okay, this is tricky stuff, with rapid fire "dialogue" that is not particularly well-timed in the score, and lots of scuffling required between baritone and tenor. Still, it appeared that our tenor was not choked, but rather "lapeled" to death. ("Nooooo, don't go grabbin' my lapels!! Aaaaaaaaaaaaaaaaagh, I am melting, melting, what a world. . .what a world. . .")

No equivocation though that Zeljko Lucic was a first-rate "Michele." This splendid "house singer" has gone on to great acclaim in the world's most prestigious houses, including the Met's recent broadcast "Macbeth." That his success is deserved was evidenced on this occasion by a suavely sung "Michele," no more so than in his big ranting aria near act's end. He brought sound technique, burnished tone, and dramatic fire to bear in equal measure to forge a figure of profound tragedy. Later in the evening, Lucic regaled us anew with a wry, witty, expansively sung "Schicchi."

Julia Juon is a treasurable artist who was a memorable "Frugola," her little "cat arietta" giving much pleasure. She is perhaps too diminutive for the "Principessa," and was not helped by being placed behind the bar for the bulk of her great scene. It made her look even shorter, and served as a real visual barrier to our connection with her arrogance and imperiousness. Too, her tightly focused voice is not the big honking baritonal sound that Maureen Forester and Marilyn Horne have brought to the part. With "Zita" she was on solid ground again, looking eerily evocative of Rue McClanahan in "Golden Girls." Cagey, cool, elegant, steady and characterful of voice, this was nonetheless a wonderful trio turn for the popular Ms. Juon.

Longtime Frankfurt ensemble member Carlos Krause was a fully rounded "Talpa" as well as a delightfully scheming "Simone." The drunken exhortations of "Trincula" were well handled by Hans-Juergen Lazar. Daniel Behle was a sweet-voiced "Song Seller" who would later prove to be a slimy and persuasive "Gherardo."

Although "Tabarro" was shoe-horned into this concept, it still fully made it's case. The gentle "Suor Angelica" had rougher seas to traverse. Again I gotta ask: Is there anything about this simple convent tale that "floats"? Or that can allow for the fact that a strict, reclusive religious order is inexplicably on a luxury cruise? Are these actually the Sisters of Perpetual Indulgence on a gay holiday? Whaddupwiddat?

The sweet little expository cameos of the rather anonymous and interchangeable sisters went for even less than usual. The setting here was such such a distraction that I spent more time wondering about the anachronisms than I did enjoying the overall wonderful singing and playing.

Within this ill-conceived framework, though, star soprano Danielle Halbwachs served notice that she is a wonderful, commanding, well-rounded artist. She sings with informed nuance, considerable power, and generous tone.

What she does not possess to my taste is a particularly Puccinian sound and therein lies a rub. "Angelica" is a character study (and nothing but) painted in a quintessential Italianate sound vocabulary. Not her fault, but where the voice should spin and gleam, such as in the upper reaches of the luminous climaxes, her technique only touched on the notes before fleeing to more comfortable lower reaches. The final floated high note of "Senza Mamma" did not come easily, and on this occasion, resisted focusing into the requisite finely spun filigree.

Dramatically, the director had her affect a cliched trembling hand a la Tom Hanks in "Saving Private Ryan" -- quieted only by death. Truth in Reporting: All my reservations seemed to matter not one whit to the Publikum who received her rapturously, and, well, why not? Our diva did the vast majority of things right, and is a hugely talented performer. So talented that I would love to see her in other, more suitable roles of her core repertoire.

But what a sad mish-mosh "Angelica" turned out to be. Our Singing Nun seemed to have a sideboard/mini-bar in her suite that was very well stocked with herbs, weeds, seeds, Diet Coke (I made that up), and well, um, poisons. Huh? (See the problem here?) If Carnival Cruises ever offers this tour package, I advise you to pass on it. Or at least avoid the herbal teas.

schicchi.pngGianni Schicchi — Željko Lučić (Gianni Schicchi, rechts), Solistenensemble (Verwandte)

With "Gianni Schicchi" we were back in the realm of believability, although the paeans to the vista of Florence were certainly not credible. I have been there. Big ass cruise ships cannot dock in the Arno. But, save that, there is nothing inherently wrong about "Buoso" and "famiglia" being on this boat. Guth found much to revel in and nailed any number of comic moments.

In a startling revelation our "Lauretta" is shown to be pregnant. Whether the singer really is or not, the reveal at the end of "O Mio Babbino Caro" (competently sung by Juanita Lascarro) was a stunner, and it worked. The Pillsbury Doughboy "Rinuccio" of Massimiliano Pisapia was a real crowd pleaser thanks to an ample, pointed, veristic tone and well shaped phrases. Mr. Pisapia is a tenor to watch.

The entire ensemble of greedy relatives made outstanding contributions, not least of which was Nathaniel Webster as "Marco." Angelina Ruzzafante, Franz Mayer, and Claudian Mahnke contributed sparkling jewels of individualized characterizations as "Nella," "Betto," and "Ciesca," respectfully. Throughout the night the Frankfurt Opera Orchestra under Yuval Zorn played very responsively, although (as in "Suor Angelica") occasionally with more passion than precision.

Perhaps the metaphor for the whole Ship of Fools concept came at the end of "Schicchi" when our leading baritone apparently shoots himself off stage. Shoots himself! I mean, Big Bang off stage, and he lumbers back on, bloodied, taking his ghostly time mounting the stairs, as a melancholy voice-over pronounces his final speech to the audience.

My Big Bang Theory? "Schicchi" went off stage and said "Oh damn, I have been playing this Florentine opera on a cruise ship! It's the fifteenth century, for God's sake! I'm a Fool! Onore! Famiglia!. . . .Bang!"

But seriously now, this was a terrific cast in a conscientiously considered, well-staged, musically sound production. The audience cheered it to the rafters. As for me, I admired the skills of the talented and earnest production team so much, that I would welcome the chance to see more of their work. Or. . . to see them put all these excellent elements into a more realistic production. Now there is a radical concept!

If not everything about this "Il Triticco" worked, it was still the product of a healthy and prolific artistic mind. I was always engaged, sometimes led astray, but always hoping to see more from this talented team.

James Sohre

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):