07 Apr 2008
Barenboim and Berlin — beauty and brilliance
BERLIN — Which car-rental agency was it that was once No. 2 and “trying harder?”
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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.