07 Apr 2008
Barenboim and Berlin — beauty and brilliance
BERLIN — Which car-rental agency was it that was once No. 2 and “trying harder?”
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.
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.
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.
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.
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.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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.
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.
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.
'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.
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.
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.
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.
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.
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.
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.
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.
BERLIN — Which car-rental agency was it that was once No. 2 and “trying harder?”
No one remembers, for today — if lines at airport counters are an indication — the two are neck and neck with both doing well. Their competition comes to mind, however, here in Berlin, where the Philharmonic, looking back on golden ages under Wilhelm Furtwängler and Herbert von Karajan, has long been the No. 1 orchestra not only here, but — in the eyes of many — in the whole world. In the long-divided city the Staatskapelle, on the other hand, attracted little attention in its primary role as the competent but colorless pit band in the historic Staatsoper on Unter den Linden in the East. Then — in 1989 — the Wall came down, and — in 1992 — Daniel Barenboim was made maestro of the opera and its orchestra.
A week in the city over Easter underscored his success in bringing to both a brilliance that declares them no longer No. 2 to anyone. Easter is, of course, the time for Barenboim and his forces to shine, for the Philharmonic and its charismatic conductor Simon Rattle are off in Salzburg for the spring festival that Karajan founded there. Barenboim performances are the heart of the local “Festtage,” a mini-festival instituted even before the Wall was built to attract audiences to the East.
On March 16 Barenboim kicked off the series at the Staatsoper with the first Berlin staging of Prokofiev’s “The Gambler,” a torrid tale of love and the loss of fortunes based on Dostoyevsky’s 1866 novella that reflected the author’s own addiction to gambling. In an eye-catching updating by Dmitri Tcherniakov, responsible also for sets and costumes, gamblers were on stage in fictional Roulettenburg even before the music began. Prokofiev went to work on “Gambler” in 1915 when he was 24. A first version was slated for production in St. Petersburg, but cancelled when street fighting heralded the revolution. Plans for a Russian staging were later scrapped because the composer was living abroad. The opera — revised in 1927-‘28, was premiered in Brussels in 1929 and has had only a handful of stagings since then. (It played at the Chicago Lyric Opera in 1991.) This made the production at the Staatsoper, where Barenboim is cherished above all for his work with Mozart and Wagner, an event of special interest, and — with best seats selling at 260 Euros (around $400) — the historic house was packed.
Scene from The Gambler
Conductor and orchestra had fully mastered Prokofiev’s chrome-plated score, which with its sharp edges and abrupt corners recalls that “Gambler” is the contemporary of Berg’s “Wozzeck.” The work’s study of a society sick to the depths of its soul is of obvious contemporary relevance. Largely through-composed, “Gambler” gives primacy to the text — sung here in Russian with titles in German, and for it Barenboim assembled a cast of two dozen that was without a weak link. Christine Opolais was stellar and sympathetic as Polina, a young newly rich woman unable to believe that a man could love her without selfish goals, and as that young man Misha Didyk was a dramatically overwhelming Alexej. Outstanding were two character roles: Stefania Toczyska as the matriarchal Babulenka who gambles away jewels and furs to stand figuratively naked before false gods, and bass Vladimir Ognovenko as the equally depraved General. “Gambler” tells a dark and threatening story. Barenboim and his ensemble told it with conviction.
Scene from Die Meistersinger: James Morris (Hans Sachs) and Dorothea Röschmann (Eva)
Barenboim was back on the podium on Palm Sunday to conduct Harry Kupfer’s stunningly colorful production of that most German of all operas, “Die Meistersinger,” and it was on this familiar Wagnerian turf that the he and the Staatsoper were of truly unsurpassable excellence. In his sensitive approach to the Overture Barenboim made voices audible that one had never heard before, and the pathos-ridden Prelude to Act Three, often tossed aside unthinkingly en route to the pageantry of the final scene, was gripping in its bitter sweetness.
In his house debut James Morris, the reigning Wotan of his generation, was touchingly convincing as Hans Sachs, Wagner’s shoemaker torn between his own love for Eva and his support for young Walter in his efforts to break the ossified rules of the master minstrels. Morris played an understated Sachs and was in even smoother and richer voice here than he was for his debut in the role at the San Francisco Opera in 2001 and in the DVD that originated at the Met the following season. Dorothea Röschmann, a Mozartian now moving into lighter Wagner roles, sang Eva with ease and clarity, while Burkhard Fritz was a Walter of often bashful youth. Among the masters Rene’ Pape stood out as an aristocratic Pogner, and Roman Trekel was a handsome — if pedantic — Beckmesser, who avoided clichés of self-parody. And while David and Magdalene are roles often assigned to singers on the eve of retirement, it was refreshing to hear them sung — and sung well — by youthful Florian Hoffmann and Katharina Kammerloher. Yet it was Barenboim who made these two evenings a triumph of perfection. Everything spoke of immense care and concern for the task at hand. And it was a nice touch that Barenboim brought the entire orchestra on stage for a curtain call at the end of “Meistersinger.”
To fully appreciate the excellence of the Staatskapelle, however, one must hear them out of the pit in concert. On March 20 Barenboim took the orchestra to the Philharmonic Hall, Hans Scharoun’s 1963 masterpiece that is beyond doubt the world’s most successful — and beautiful — concert venue. There one witnessed the interaction of Staatskapelle musicians and experienced how closely “in sync” they are with Barenboim. Highlight of the program was Brahms’ D Minor Concerto, played by Lang Lang, today’s sensation among young pianists.
One doubted a few years ago whether the Chinese-born pianist would be able to handle the success that he was, but today it is happily clear that at 25 he has found himself and is headed towards even greater things in the future. Here, again, however, Barenboim deserved much credit for the experience that this was. Long a master among pianists, he know this concerto inside and out, and it was fascinating to watch — and hear — him guide his orchestra through it. This was conducting as it should always be: instructive, shaping and forming — recreating, in short, the piece at hand. It was evident that he and Lang Lang had worked together carefully to make this a memorable performance.
Barenboim, in sum, is one of today’s great artists, and his influence and impact are felt far beyond Berlin. He is the man who broke the Israel taboo on Wagner by conducting the Prelude and “Liebestod” from “Tristan” as an encore there in 2001 — to near-violent reaction from many in the state. He worked with Palestinian scholar Edward Said to found the West-Eastern Divan, an ensemble of young musicians from countries throughout the Middle East that is now of legendary fame. A citizen of Israel, he has now acquired Palestinian citizenship as well.
A note on the Berlin Staatsoper. The building, built originally in 1740 by Friedrich the Great and destroyed and rebuilt many times since then, is in a horrid state of disrepair. Walls are dirty and cracked; carpets are threadbare and floor creak. The building is scheduled to close in 2010 for three years of reconstruction to cost some $260 million.