Recently in Performances
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
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