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

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

OPERA TODAY ARCHIVES »

Performances

Scene from Doktor Faust (photo courtesy of Bayerische Staatsoper)
20 Jul 2008

Idomeneo and Doktor Faust at München Opernfestspiele

The Bayerische Staatsoper, based in three spectacular houses where Mozart, Wagner and many other composers premiered their works, presents over 300 annual performances to a discerning public.

Above: Scene from Doktor Faust (photo courtesy of Bayerische Staatsoper)

 

Some of what one hears there is as fine as any opera in the world today; the rest comes close. München’s July Summer Festival may lack the superstar glitz of neighboring Salzburg, but it offers wider repertoire in greater acoustical intimacy at one third the price—and, outside the door, the urban amenities are far more plentiful. This year I attended new productions of Mozart’s Idomeneo and Busoni’s Doktor Faust.

The Idomeneo was bound to be special, as it marked the 350th anniversary of the construction of the Cuvilliés Theater—a Rococo gem where Mozart premiered the work in 1781. (But not, strictly speaking, the very spot where he did so. The theater was dismantled during World War II to avoid Allied bombing that destroyed its original location in Munich’s downtown Residenz Palace. It was reconstructed after the war in an adjoining section of the palace.) The theater has recently been newly re-renovated with the attention to detail that epitomizes the Bavarian devotion to their past, including a delicate pastel-colored forecourt, now glass-covered, that magically shifts mood with the deepening summer twilight.

Idomeneo marked Mozart’s operatic liberation. The invitation to write an opera for München in 1781 freed the young composer from Salzburg’s provincial confines. For the first time, some of Europe’s best musicians were at his disposal. In the overture, Mozart’s pent-up energy explodes in bravura wind passages, sharp brass chords, and sweeping orchestral tuttis. The architectural anniversary was surely an appropriate moment to let the orchestra, led by München’s Music Director Kent Nagano, speak for itself.

It was not to be. No sooner had Nagano given the downbeat than dozens of soldiers dressed in football pads cum Star Wars Storm Trooper suits ran on stage to simulate Trojan War tableaux with a ruckus of splattered blood. And so it went. Dieter Dorn’s chaotic visual energy can be invigorating, but it is more often exhausting, burying Mozart under mayhem. He tends, moreover, to fall back on Regietheater clichés: the rear wall of the theater served as the backdrop, broken historical artifacts littered the stage, costumes confused time and place, crowds glared angrily at aristocrats, who in turn clutched the scenery.

Still, I have to confess I loved a few of Dorn’s concepts. During Elettra’s final showpiece aria, rather than having her squirm and twist in a torment of “serpents and adders”, as one conventionally sees, Elettra inadvertently calls forth slimy, blood-stained furies out of the floor, who pull her down to hell—a female Don Giovanni. It is high camp, of course, but it brings the text onomatopoeically to life. In a more realistic production, it would work even better: Someone should steal the idea.

Musically, this Idomeneo labors under two disadvantages. First, despite the charm and intimacy of the Cuvilliés, everyone sounds hoarse. Unflattering acoustics, it is said, are a result of a concrete shell irreversibly laid in the post-war renovation. Second, who decided to eschew the now commonplace mezzo Idamante in favor of a tenor, with its far less poignant Act III writing? (While we are at it, who decided, amidst an otherwise largely uncut Idomeneo--indeed, with the extra ballet music at the end—to excise the second verse of “O voto tremendo”, one of the most spine-tingling moments in all of Mozart opera?) We live, after all, in an era of great lyric mezzos. I hope the decision was not taken to profile the Slovakian tenor Pavol Breslik. He may be the hot young Mozartian in Europe today. But his heady, unsupported tone grated after a while and seemed not to promise a long career. Perhaps I just caught him on an off night or in unfavorable acoustics.

Far more impressive—the highlight of the evening vocally—was John Mark Ainsley in the title role. To be sure, the voice is on the light side for a role often assumed these days by heavyweights (even Plácido Domingo). But one hears every note come scritto and unfudged, with interpolations superadded—a spectacular achievement rare on stage. Juliane Banse, by contrast, sounded as if she may have outgrown Ilia, at least in small halls: Unevenness of color and weight undermined the nobility of her characterization. Rainer Trost’s Arbace had more weight and warmth, but the voice sounds worn. Young Berlinerin Annette Dasch made an exciting, good-looking, but vocally bland, Elettra.

Nagano’s approach was more relaxed and less idiosyncratic than in his 2004 Los Angeles performances, and the orchestra responded brilliantly. Yet one wondered why he was conducting Idomeneo when he might have waited one night and conducted the premiere of Busoni’s unfinished masterpiece, Doktor Faust—a score of which he is perhaps today’s leading exponent, having recorded it for Erato just a few years ago.

Instead we got Tomáš Netopil, a young Czech about whom no one knew much. Conducting Busoni is a difficult task: The polyglot composer cycles through an eclectic range of forms, which he deploys with a mixture of German modernism and Italianate post-Romanticism. Netopil‘s take on Busoni is impressive without being entirely convincing: He thins the orchestral sound to an impressionist shimmer, then punctuates it with harsh expressionist blasts. Despite the fuller acoustics of the National Theater, one feels the absence of Busoni’s sensuous Italian side, as well as any serious attempt to integrate the score into a compelling whole.

The rising young Wagnerian baritone Wolfgang Koch, making his house debut, strained at times to project over Netopil’s orchestra, but nonetheless handled the title role with clear tone and diction. Still, his is not a characterization distinctive enough to challenge memories of Fischer-Dieskau or Hampson. British tenor John Daszak did justice to Mephistopheles, if similarly without that extra touch of suaveness and assurance. The Duchess of Parma, by contrast, is a sure-fire soprano turn. She comes on midway through a “difficult” opera without other female leads: The setting is romantic, the character sexy, the music Busoni at his most Puccinian, and (in this production) she takes off most of her clothes. No wonder Californian Catherine Naglestad was an audience favorite. With shimmering Mozartian tone, she earned it honestly.

And what of the staging? Like Dorn’s Idomeneo, Nicolas Brieger’s production of Doktor Faust is constructed like a contemporary art work: a series of stunning, sometimes shocking visual tableaus that do not quite add up. The idea is to present Faust as mid-life crisis: a frustrated and solipsistic modern artist—a man stuck in a rut of sterile self-portraiture—gets in touch with his inner demons. The idea is hackneyed, even a bit silly, but some of his theatrical concepts are clever: The temptations of youth are bronze nude dancers hanging from the ceiling. Mephistopheles emerges from Faust’s ass as an evil twin biker in drag. The Parma scene ends with only the adulterous duchess’s wedding dress left standing center stage. Faust conjures up Helen of Troy in the form of large letters spelling H-E-L-E-N-A: an abstraction, rather than a reality.

Yet much else muddied the central concept: Why, in the mid-life crisis view, is Parma the land of Fascist bosses, pastel zoot-suits and tiny buildings? Why is Wittenberg filled with candles? Why is Faust an artist anyway? As often the case in director-led productions, moreover, visual pyrotechnics come at the cost of stage direction: Faust and the Devil grimace and fulminate, but rarely truly engage with one another.

At the end of the evening, the directorial team opted for neither of the available conclusions to Busoni’s unfinished score, but instead abruptly stopped the music where Busoni broke off his composition. Following the trail blazed by the San Francisco Opera, the final lines were spoken—an unsettling, enigmatic solution to a perennial problem.

Overall, Idomeneo and Doktor Faust were sophisticated and engaging near-misses. Uneven casting, odd conducting choices, and directorial overkill seemed to confirm rumors that the Bayerische Staatsoper is suffering from a crisis of leadership since the departure of former Intendant Peter Jonas in 2006. Local newspapers report that the arrival of Intendant Klaus Bachler from Vienna this fall may even place Nagano’s status in question. One hopes not, and that this excellent company will instead refocus its energy in the years to come. Even so, a few days at the Bayerische Staatsoper are always very much worth the trip.

Andrew Moravcsik

Click here for a photo gallery of Idomeneo.

Click here for a photo gallery of Doktor Faust.

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):