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

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

OPERA TODAY ARCHIVES »

Performances

Ellie Dehn with Elizabeth Batton in William Walton's Troilus and Cressida.  Courtesy Opera Theatre of Saint Louis.  Copyright 2008 Ken Howard.
13 Jul 2008

Troilus triumphant in Saint Louis …..

For Sir William Walton, the protracted genesis of Troilus and Cressida must have seemed more akin to the agonies of Sisyphus than to the composition of an opera.

Sir William Walton: Troilus and Cressida

Troilus (Roger Honeywell); Cressida (Ellie Dehn); Pandarus (Robert Breault); Calkas (Darren K. Stokes); Evadne (Elizabeth Batton); Diomede (Mark S. Doss); Antenor (Aleksey Bogdanov). Conducted Antony Walker, directed Stephen Lawless, sets by Gideon Davey, costumes by Martin Pakledinaz, musicians of the Saint Louis Symphony Orchestra, Opera Theatre of Saint Louis Chorus.

Ellie Dehn with Elizabeth Batton in William Walton's Troilus and Cressida.
All photos by Ken Howard courtesy Opera Theatre of Saint Louis

 

Walton and Christopher Hassall spent over six years laboriously crafting the libretto from nuggets of Chaucer, Boccaccio, and C.S. Lewis’s The Allegory of Love. The musical idiom likewise troubled Walton. He envisioned the opera as an heir to the bel canto tradition, but worried about strains of Wagner, Verdi, and Strauss always “popping their heads round the corner.” Casting problems dogged the 1954 Covent Garden premiere, and Troilus was ill-received at La Scala in 1956. Disheartened, Walton undertook major revisions for the 1963 Covent Garden revival. More revisions followed in 1976, including the alteration of Cressida’s original soprano tessitura into a mezzo-soprano vehicle for Dame Janet Baker. Despite these efforts, today Troilus and Cressida remains a relative rarity. Opera Theatre of Saint Louis’s glorious new production is the first since Opera North in 1995, and the first American performance since the 1950s. Opera Theatre likewise premiered a new performing edition of the opera, which incorporates a revised orchestration and the original soprano tessitura. Beautifully sung and strikingly staged, hopefully this Troilus will encourage more frequent American performances.

In Behind the Façade, Susana Walton recalled her husband’s lament that he never found the right voices to sing Troilus. The role of Cressida particularly tormented him; Walton had written it for Elisabeth Schwarzkopf, who never sang it onstage. Constantly trolling for the perfect Cressida, Walton even briefly tried to interest Callas in the role. Opera Theatre turned to gorgeous soprano Ellie Dehn, who truly dazzled as the Trojan priestess. Her Act II aria “At the haunted end of the day,” shimmered with mournful longing and finished with a gloriously resonant high C. Cressida’s music has some creatively creepy moments, such as Act III’s “O Tranquil Goddess.” Here Dehn’s excellent breath control helped delicately shape the piano high notes. The only vocal flaw lay in her diction, which was sometimes seemed a little lazy. Dehn’s greatest coup was her magnetic stage presence, proving Walton’s dictum that Cressida is the crux of the opera.

The role of Troilus was well served by Roger Honeywell’s puissant tenor voice, save a few oversung high notes. The quality of Troilus’s music, however, seems less consistent than Cressida’s. For Troilus’s main Act I aria, “Child of the wine-dark wave,” Walton composed a soaring vocal line with the standard love song signifiers of G-flat major and throbbing triple-time. Yet for all its obvious charms, this aria falls flat, through no fault of Honeywell’s. Dramatically, Honeywell and Dehn were a compelling couple, though Honeywell might tone down his occasionally histrionic gestures.

Tenor Robert Breault was stellar as Cressida’s pandering uncle Pandarus. His musical style famously parodies Benjamin Britten’s, with lots of falsetto, melismas, and odd repetitions. Pandarus is hard to judge; on one hand, he offers the only comic relief in Troilus and Cressida, and Breault certainly deserved enthusiastic applause for his fussily cheeky interpretation. On the other hand, I find a little of Pandarus’s music goes a very long way. By Act II, Breault’s well-executed melismas, such as the one on the words “embroidered satin,” just seemed annoying.

Walton noted in 1953 that Cressida’s servant Evadne “should be as good as we can find.” Opera Theatre seemed to follow his directive, given Elizabeth Batton’s beautifully creamy mezzo-soprano voice. Batton had terrific low notes, and her voice blended wonderfully with Dehn’s at the beginning of Act III. Bass-baritone Mark S. Doss imposingly interpreted Cressida’s rival suitor, the Grecian Prince Diomede. Doss’s voice is lusciously rich, with great diction. As High Priest Calkas, bass-baritone Darren K. Stokes was an amazing stage presence, but the voice didn’t carry particularly well.

The orchestra did a fine job negotiating Walton’s complicated score, and the revised orchestration certainly seemed both sufficient and transparent in a hall this size. Many of the short string solos were lovely, particularly Daniel Lee’s cello solos in Acts I and III. Act II’s famous interlude was properly full of yearning.

The sets and costumes were striking in their mix of austerity and sumptuousness. Director Stephen Lawless turned to wartime London for inspiration, particularly the claustrophobic “bunkers” of the Underground. Yet the stage looked less like the London underground than a mix of Downfall and Desert Storm. To some extent, the mixing of the modern and the antique is built into this opera, since Troilus’s original medieval story was transplanted to ancient Greece. The costume designer followed this bi-temporal impulse, with Trojan soldiers in modern metal helmets and the plumes of legionnaires. Cressida and Evadne’s beautiful Grecian dresses were covered with camouflage capes, and spears freely intermingled with contemporary military netting.

At times extraneous stage busyness detracted from the otherwise outstanding production. Walton consummated Troilus and Cressida’s union with an extended “pornographic interlude,” complete with action implied behind a scrim. Opera Theatre staged this beautifully, with Troilus and Cressida wrapping themselves in an enormous sheet and moving in suggestive poses. Paired with Mark McCullough’s splendid lighting and the crashing orchestral interlude, the onstage image was striking. Yet the directors added random “sidebar” interests during the interlude, such as someone being tortured stage right, Pandarus milling about, and finally soldiers crawling in to drag Troilus and Cressida offstage.

I was also mystified by changes to Troilus and Cressida’s dénouement. It took Walton and Hassall years of furious debate to decide the exact sequence of events, particularly concerning the deaths of Troilus and Cressida. Eventually they settled that Cressida’s father Calkas would traitorously stab Troilus in the back, causing the disgusted Diomede to banish him to Troy. Left alone onstage, Cressida seizes Troilus’s sword and stabs herself to end the opera. In Opera Theatre’s version, Calkas shot Troilus in the back. More bizarrely, Cressida ran offstage in the opera’s final bars. At the final drumbeat, an upstage door opened to reveal “Cressida” hanging in effigy from the walls of Troy, strangled by her red scarf. Not only did this significantly alter Walton and Hassall’s vision, the choice ultimately seemed to confuse the audience for no good reason.

Troilusone.pngRoger Honeywell as Troilus (center) with Robert Breault (seated) in William Walton's Troilus and Cressida.

These performances of Troilus were particularly poignant for Opera Theatre, given longtime Artistic Director Colin Graham’s passionate advocacy of Walton’s opera. Graham directed Troilus’s 1976 revival on a shoestring budget, and relished the idea of staging Troilus in Saint Louis. Due to his passing last year, Opera Theatre dedicated Troilus’s run to Graham’s memory. Let us hope Graham’s long-desired Saint Louis Troilus is only the first of many new productions.

Erin Brooks

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):