18 Aug 2008
Lucky star over the Arena
“Stage direction should not follow fashion, for fashion is the sister of death”.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
“Stage direction should not follow fashion, for fashion is the sister of death”.
This solemn statement, drawing from Italy’s poet laureate Giacomo Leopardi, is ostensibly the key to Denis Krief’s vision of Nabucco, unveiled last year as the inaugural show for the 85th opera season at L’Arena di Verona and now being revived from late June to late August. By signing all alone direction, scenery, costumes and light design, the French-Italian polymath provided a consistent, almost austere, staging; one relying more on the clash of ideas than on traditional melodramatic gestures. Jerusalem and Babylon, two hostile worlds, are summarized by means of abstract symbols facing each other from opposite sides of the stage. On the left, huge pentagons in white metal resembling a library: Jehovah’s Word incorporated in long rows of books. On the right, gilded cylinder slices boldly pointing towards the sky: the tower of Babylon, obviously. As the conquering Assyrian king storms the Temple on horseback — a real horse, Arena-style, and a pretty skittish one at that — all the books abruptly fall from the shelves and tumble down to the ground with an ominous roar. The Temple is then plunged into the dark, with the Jews singing as if behind the bars of a multi-storied penitentiary. No less destitute in their ankle-length grayish overcoats, Assyrian troopers march to and fro along a steep platform stretching between both monuments. Their queer parade-step, an operette-ish caricature of the German Wehrmacht or the Soviet Red Army, conveys a touch of (unintentional?) humor, though.
After a first controversial reception from the popular outdoor audience, this production is now being paid growing success. Pity that, right on the first sold-out night on July 27, a meeting of stagehands called for a strike in support to a fired colleague and pitch-black clouds were amassing over the beautiful town on the green Adige river. “A stormy night at the Arena — past GM Claudio Orazi once told me — amounts to a thrilling experience. Challenging occasional downpours is part of the excitement, as long as they don’t wholly disrupt the performance. A much seldom occurrence, inasmuch we believe that a lucky star shines over the Arena”. Yet at 9.15 p.m., when Daniel Oren raised his baton for the overture, few among the 14,000-odd patrons filling the stone crater to the brink would bet on a happy end. True, this particular production could not suffer much from the desertion of stagehands. The books were not there, and that was nearly all the damage.
Scene from Act III of Nabucco
To make up for it, the acid colors and the gloomy atmosphere of Krief’s lighting, that plunged most of the rear-stage into darkness, were stirred by a continuous battery of natural flashes and rumbles from above. Whether accompanying Nabucco’s acts of blasphemy, the Jews’ hymn to “Immenso Jehovah”, or the fall of the idol of Belo, such serendipitous effects conveyed a grandeur that no human director could afford. Eight minutes past midnight, with the company still bowing in return of applause, a gentle drizzle started falling, turning into a flood as soon as the last opera tourists had climbed their coaches heading to Switzerland, Austria and Germany — an amazingly tactful timing. As to the music itself, a credible title-role was provided by Ambrogio Maestri, equally royal in bodily appearance and breath consumption. His main opponent Zaccaria (Paata Burchuladze) did not yield an inch and triumphed with beautiful legato singing in “Dio di Giuda”. Maria Guleghina, still an awe-inspiring Abigaille, was at her most affecting in her lyrical and repentant moments, particularly in her final “Su me morente, esanime”, while suffering from occasional strain at high-pitched cabalettas, such as “Salgo già sul trono aurato”. Ismaele (Giorgio Casciarri) and Fenena (Eufemia Tufano) sketched an elegant couple of lovers, with uncommon bel canto potential and enough power to be heard above the thunderbolts. The house’s chorus reaped wild applause for its rendering of “Va’ pensiero”, once a battle anthem during Italy’s independence wars against the Austrian empire. That 19th-century tradition lives on, as shown in the customary calls for encore, this time full-heartedly granted by Oren. The mercurial Israeli maestro is a welcome guest here. His nuanced touch is even more praiseworthy given the dimensions of this unique venue; if only he could restrain from humming and roaring into his microphone during the climactic orchestral tutti…
A panoramic view of Nabucco.