Recently in Performances
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
13 Jul 2008
CANDIDE – English National Opera, London Coliseum
Originating at the Châtelet, where the narration was given in French, Robert Carsen's staging of Bernstein's unique satire worked rather well in its television broadcast from the Parisian house late in 2006.
It is set inside a giant television in America at some unspecified point in the 1950s or 1960s (though there are references to events spanning the past sixty years), one conceit of the production is that Candide's childhood home is the White House, and his adoptive parents the President and First Lady. Voltaire's imaginary land of Westphalia becomes 'West Failure', an overt joke at the expense of the US, and Pangloss's unfailingly 'optimistic' philosophical teachings become an all-too-recognisable depiction of a country whose administration prefers to brainwash its younger generation into acceptance and support of its professed moral and religious values while employing questionable (and often downright hypocritical) ethical practices both at home and in its foreign policy.
The overture is accompanied by a film depicting various aspects of American life, principally the ‘American Dream’. It was an inventive compilation with each new musical theme coinciding with a new theme in the film: the fast tune from ‘Glitter and be Gay’, for example, took us to the glamour of Monroe-era Hollywood, and the splash of the final cadence became an exploding Coca-Cola sponsorship logo. We are then introduced to Act 1 by a cartoon Voltaire giving a wink and a one-fingered salute in the manner of a Monty Python animation vignette.
The deeply cynical operetta juxtaposes sunny innocence and the worst excesses of human darkness right from the start, with Pangloss and 'Voltaire' (both roles played by the singing actor Alex Jennings) blithely recounting the young protagonists' encounters with military brutality, massacre and rape as though it were a natural progression from the privileged idyll of the opening scene. The characters hop from country to country, meeting appalling fate after appalling fate and somehow always coming out the other side. Almost all the characters have a surreal habit of surviving their own deaths on multiple occasions; all in all nothing much ever changes in the world, no matter how great the growth in wisdom and self-knowledge of its individual citizens.
Rumon Gamba's conducting was often rather pedestrian, but the cast was reasonably strong. In the title role, Toby Spence was soulful and likeable, his boyish blond looks and clear tenor ideal for the gullible hero. In appearance and character he was well-matched by Anna Christy's Cunégonde, though the amplification system was unkind to her very focussed glassy soprano and she was often shrill (though at least her American accent is natural; the rest of the cast had varying degrees of success with theirs.) Mairéad Buicke's Paquette was lively, and Mark Stone's Maximilian was the most attractive voice on offer. Beverly Klein supplied the best all-round value as the Old Lady; her tango number 'I am easily assimilated' was the most successful set-piece of the evening, more so even than the more obviously showy 'Glitter and be Gay'.
Toby Spence as Candide & Anna Christy as Cunegonde
The main problem with the staging is that the concept – while supplying good value in terms of funny situations and surreal humour – rides roughshod over the wit and satire in the piece itself. A stab at 21st-century topical comedy – with a parade of five contemporary politicians lazing on inflatable mattresses atop an oil slick – fell absolutely flat, and should be consigned to the cutting-room floor before the production travels any further. Furthermore, the characters remained cartoonish and two-dimensional, and I never felt much sympathy for any of them – the plot relies upon each person being a blend of the positives and negatives of humanity. There were certainly a few real belly-laughs over the course of the evening, but ultimately it was a superficial affair.
Ruth Elleson © 2008