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

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

OPERA TODAY ARCHIVES »

Performances

Isabel Bayrakdarian as Mélisande (Photo: Michael Cooper)
27 May 2008

Masterpiece Masterfully Rendered in Toronto

I can still remember my first ever “Pelleas et Melisande” in my first ever outing at San Francisco Opera during my first ever visit to that beautiful town.

Claude Debussy: Pelléas et Mélisande

Golaud, King Arkel’s grandson (Pavlo Hunka), Mélisande (Isabel Bayrakdarian), Geneviève, mother of Pelléas and Golaud (Barbara Dever), Arkel, King of Allemonde (Richard Wiegold), Pelléas, King Arkel’s grandson (Russell Braun), Yniold, Golaud’s son by his first marriage (Erin Fisher), The Doctor (Alain Coulombe). Conductor: Jan Latham-Koenig. Director: Nicholas Muni. Canadian Opera Company.

Above: Isabel Bayrakdarian as Mélisande
All photos by Michael Cooper courtesy of Canadian Opera Company

 

Having run into a local friend unexpectedly at intermission, and having related the above information, he hurriedly said, “ohhhhhhh, you should come back sometime for a real opera.”

Judging from intermission comments recently in Toronto, and some empty seats for part two, the piece apparently remains caviar for the gourmand, rather than bread and butter for the masses. I am hard pressed to quite understand why, especially when the work is treated to such a world class performance as mounted here by Canadian Opera Company.

Dany Lyne’s gorgeous design — ethereal, timeless and haunting — provided the perfect backdrop and playing environment for Debussy’s masterpiece. While the basic construction featured a girdered bridge which elevated actors about ten feet off the stage floor, visual variety was introduced through the addition of well-chosen set pieces (throne, bed, rickshaw, etc.), and the revelation of fold out features such as a hidden stairway and door leading from above to the “depths” of the debris-strewn floor in which “Pelleas” dwelt during much of the first act.

The stage left third of the structure was able to be raised and lowered, creating “Melisande’s” bedroom tower, a beautiful evocation of a depth to the well, and a final descent to the grave for our heroine’s remains, even while her spirit (in the form of a diaphanous bed canopy) ascended to the heavens.

Scrims, opaque spun fiberglass drops, and a cyclorama fronted by expressive filigreed tree branches, were inventively lit by Thomas C. Hase with his perfectly judged special effects and a highly creative design. He was assisted by John Prautschy. A glowing blue moon, passing torchlight, silhouette imagery, the up-lit fountain, and the down lit bed and stairs were among the superbly calculated effects. A passionate orb of a sun called to mind Stephen Crane’s “the red sun was pasted in the sky like a wafer.”

Ms. Lyne’s vibrant Asian-influenced costumes could also hardly have been bettered, and the choice to put “Melisande” in vivid reds proved to be inspired, completely playing against the usual wispy “type” for this mysterious character. Indeed, our heroine’s first appearance behind a scrim, in a rich Chinese red dress with an impossibly long train, and draped in an over-sized off-white veil was a triumph of character statement, making her at once irresistibly alluring and impossibly indefinite. The minute attention to each and every technical detail created true theatrical magic.

pelleas07.png(l – r) Alain Coulombe as the Doctor, Barbara Dever as Geneviève (behind Golaud), Pavlo Hunka as Golaud, Isabel Bayrakdarian as Mélisande and Richard Wiegold as Arkel

Such a top notch design would go for nothing, of course, without a cast up to the musical challenges, and COC came up with winners all around. At any given period there is always a dream team for the title roles, and on the basis of this visit, I would have to say the mantle has been passed to stars Russell Braun and Isabel Bayrakdarian, Canadians both. Although Mr. Braun has more experience with his well-known “Pelleas” (including a memorable Robert Wilson version in Salzburg with Dawn Upshaw), there is nothing in these fearsomely demanding roles that eludes either one of these superb interpreters.

Ms. Bayrakdarian offered a most compelling take on “Melisande” with a bit more starch than some. She displayed a wonderful technique, an even production, fine projection with a pleasing point to the tone, and thorough attention to each quicksilver shift of mood and subtext. Mr. Braun now pretty much owns his role, and he negotiates “Pelleas’“ highest reaches with seasoned perfection, singing with a robust and responsive baritone that has mastered every nuance of his tortured attraction to his brother’s wife.

Pavlo Hunka’s compelling “Golaud” was every inch the powerful linchpin central to the drama, as it needs to be. He managed more variety than other interpreters that I have seen, and his obsession with finding confirmation of the betraying physical act was well-balanced between heartsick introspection and macho bluster.

pelleas09.pngRussell Braun as Pelléas and Isabel Bayrakdarian as Mélisande

Richard Wiegold used his dark imposing bass to etch an unusually detailed portrait of “Arkel,” and he was well rewarded at curtain call for his efforts. Barbara Dever offered dramatic power and a steady outpouring of her rich mezzo for a fine assumption of “Genevieve.” The small role of the “Physician” was fleshed out with wonderful stage business, and the few rolling phrases required were well intoned by Alain Coulombe.” Only Erin Fisher’s attractive if light-voiced “Yniold” seemed one size too small to ride the occasional dense orchestrations.

Director Nicholas Muni made masterful use of every playing space and level available to him; he created memorable, chills-inducing stage pictures and groupings through well-motivated blocking; and he could give a masters class on effective character development and interaction. My God, here is a director who not only understands the work, but serves it! Let’s hope his creative philosophy starts an epidemic in the opera world. For this is decidedly a brilliant mounting of Debussy’s “Pelleas,” rather than Muni’s. Would that all directors “got” that difference.

The superb playing from the pit was diligently led by Jan Latham-Koenig. The acoustic of the house seemed very grateful to this impressionist work, even if I did think that it favored the orchestra slightly more than the singers. This richly detailed reading not only had the wispy, blurry succession of solo lines flawlessly interwoven, but the blocks of woodwinds, strings, and horns were individually and collectively well-knit into a clean ensemble. The passionate outbursts were all the more effective for the placid churnings that came before, and the inner life and forward thrust of the rhythmic pulse was never lost.

The beautiful “new” house in the Four Seasons Center would be an architectural pride of any world city, and it is perfectly complemented on stage by a stunning “Pelleas et Melisande” that makes the best possible case for this elusive work. Will this opus ever become a bread-and-butter opera? Perhaps not.

But for those of us who occasionally relish the highest quality caviar on our musical menu, this totally winning production was a very rich feast.

James Sohre © 2008

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):