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

Così fan tutte at Covent Garden

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.

Plácido Domingo as Macbeth, LA Opera

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.

The Rake’s Progress: an Opera for Our Time

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.

Classical Opera: Haydn's La canterina

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.

Dream of the Red Chamber in San Francisco

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.

San Diego Opera Opens with Recital by Piotr Beczala

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.

Andrea Chénier at San Francisco Opera

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).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

Poster of Louise at the Opéra-Comique in Paris (1900)
20 Jul 2008

Geez, Louise

“Quelle plaisir” to encounter Gustave Charpentier’s seldom performed “Louise” at the Paris Opera in a production where most everything went spectacularly right.

Above: Poster of Louise at the Opéra-Comique, Paris (1900)

 

As re-imagined here, these are not the prettied-up and rather charming bohemians favored by Puccini, but rather a French verismo take on the lower class aspiring bumblingly to bourgeois values.

The production team chose not to set it at the turn of the century, but rather to the more drab, workaday mid-twentieth century, to good effect. I am not sure I remember any set design or more specifically, construction, as impressive as the colossal creations by Nicky Rieti. Every time the curtain was raised, another massive, detailed location was revealed to palpable audience response.

The opening expository scene was played out on sets of stairs wedged in a narrow vertical space between two low income housing buildings, trimmed in by masking, and which ascended from stage floor all the way into the flies above. This gave way to an oppressively realistic interior living/dining room that was the heroine’s “prison.” Setting the street scene on the Montmartre Metro platform was a winning and witty invention, especially as it was visually replaced by the Metro entrance with “Louise” departing it on her way to work. Her dress shop was a massive two level structure. which allowed the large female chorus ample room for interplay, and provided excellent opportunities for visual variety. The stage right windows on the stair landing opened to accommodate the passing parade and allowed “Julien” access to appear and take “Louise” away.

The libretto’s cottage overlooking Paris was replaced here by a contemporary rooftop structure that gave the lovers plenty of room to romp during the expansive love duet, and provided a more acidic visual commentary to counter-balance the sweetness of “Depuis le jour.” The subsequent scene in which “Louise” is crowned Queen of Montmartre in a mock beauty pageant was brilliantly set in a public space that appeared to be part music hall, part political rally, complete with a rudimentary proscenium stage and runway, and elevated galleries. The piece came full circle with the girl back in her hellish, mundane “prison” with her manipulative parents.

The apt costumes were created by Chantal de La Coste Messelière, who excelled with the colorful opportunities afforded by the “subway” denizens, as well as the beauty pageant participants and onlookers. The evocative lighting was by André Diot, who unapologetically used follow-spots to fine effect, witness the isolation of “Louise” after her mother convinces her to return home to her ailing father.

One reason that “Louise” may not be more frequently performed is that Charpentier’s score places enormous demands on the two principals who must convey youthful buoyancy but sing like jugend-Wagnerians. Happily, Paris came up with a terrific duo in Mireille Delunsch and Gregory Kunde.

Ms. Delunsch does not yet sing much outside of France and she deserves to. For hers is a very pliant lyric voice with a slight steely edge that not only meets the introspective demands of the role, but can ride the orchestra on the dramatic “money” moments. She does not have a highly distinctive sound, and the bit of metal might not charm those who have Renee or Beverly or Victoria irrevocably in their ear, but for my Euro she not only has the solid technique but also the pleasing stage presence to bring it off.

Mr. Kunde was a revelation to me, for he can not only melt the heart with his suave legato phrasings, but can also let rip with a gorgeous, generous outpouring of slightly weighted arching lines at full throttle. Thanks, too. to his sincere and affecting acting and ever-responsive musicality, this was the star turn of the night.

That is not to deny “mother” and “father” a place in the firmament. Alain Vernhes and Jane Henschel contributed solid vocalism and wonderful impersonations of their two unsympathetic, calculating parents. Even as they were consistently controlling, the two managed to mine every ounce of nuance out of their parts, and had their pitiable moments.

The large cast of minor soloists all made a fine contribution to the evening, with an outstanding tenor Luca Lombardo doing memorable double duty as “Noctambule” and “Pope of the Fools.”

André Engel was the fine director who created beautiful stage pictures through logical movements in the large scenes with the massive forces. He was equally adept at developing the complex character relationships, and addressing the ever changing dynamics between the four principals. There was nary a false move over the long evening, and the naturalistic blocking provided the loving clarity and illumination the piece needs. Only the expansive movement during the love duet on the roof seemed a but strained. While it mirrored the orchestral outpourings, it seemed a bit out of character even for two people in love who have discovered their freedom.

Conductor Patrick Davin struck just the right balance between stage and pit, and he and his orchestra seemed to revel in every detail and delight in this unjustly neglected work. If some of the atmospheric scenes amble a bit (the street people, the dress makers), it is never more so that in “Suor Angelica,” say and it is frequently more engaging and touching. In any case, Davin is a conductor to watch for. Excellent.

Paris Opera’s production makes such a strong case for “Louise” (if such proof were needed) that I would hope other companies might take note and plan a revival so their local patrons can similarly rejoice in its many pleasures.

James Sohre

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):