29 Sep 2008
Les Pêcheurs de perles at the Washington National Opera
The second offering of the current WNO season is a San Diego Opera production of Georges Bizet’s Pearl Fishers (1863).
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
The second offering of the current WNO season is a San Diego Opera production of Georges Bizet’s Pearl Fishers (1863).
The 24-year old composer’s sixth and his second to be staged, this opera is a relatively little-known example of 19th-century French opera’s obsession with exotica. Its mostly Oriental stories are populated by savage primitives, and sexy virgin priestesses who in the course of the plot would invariably fall victim to forbidden love. In The Pearl Fishers, Bizet and his librettists were evidently feeling charitable: the guilty passion for once does not prove fatal for the soprano. Instead, she is saved by the villainous baritone, who belatedly discovers his inner hero, and of course gets himself shot for his trouble.
The 25 September performance was generally of good quality. The orchestra did well under the baton of Ciuseppe Grazioli. So did the chorus— when it was on stage and was able to watch the maestro’s baton, that is; the timing in the off-stage numbers was sometimes shaky.
Among the soloists, tenor Charles Castronovo as Nadir definitely stood out from the ensemble. His popular Act 1 romance “Je crois entendre encore” showcased the singer’s strong metallic timbre with excellent projection in all registers. His softly beautiful high notes might perhaps be criticized as too thin; I personally liked the pianos and thought they were stylistically appropriate for a French opéra lyrique, which really should sound different from middle-period Verdi, although it rarely does.
Baritone Trevor Scheunemann as Zurga offered a rich vocal timbre and good blending in the ensembles, of which the famous Act 1 duet “Au fond du temple saint” was a particular highlight of the evening. Scheunemann’s solos were solid, but not particularly memorable. It seemed to me that his concentration on the dramatic aspects of his part— specifically, his character’s inability to decide whether to play a village Count di Luna or Marquis di Poza of Ceylon— sometimes got in the way of sound production.
French soprano Norah Amsellem as Leila was another solid choice in casting. Despite her vocal excellence, however, the singer, like her colleague Mr. Scheunemann, also seemed trapped in the inner contradictions of her character. This time, the issue is not young Bizet’s inexperience as a dramatist, but rather the ideological “baggage” attached to the female lead in French Orientalist opera. Is she a virginal victim or an exotic seductress? One of these two favored clichés demands pure, crystalline high register and “floating” timbre with not much support; the other calls for a throaty, rich low and middle range, with rare but powerful highs. Although Ms Amsellem herself seemed to try charting some sort of middle ground, the casting of this singer, a dramatic soprano, indicates the director’s preference for the seductress image. As a result, in my opinion, this Leila often sounded much too heavy for Bizet’s delicate creation who, after all, is more Michaela than Carmen.
Norah Amsellem as Leila and Denis Sedov as Nourabad
Bass Denis Sedov as high priest Nouraband cut an imposing figure, but despite occasionally powerful sound did not impress with either diction or articulation. In this production, however, the very tall singer’s towering physique was evidently more in demand than his vocal prowess. The stage director, Australian Andrew Sinclair, has attempted to both dramatize and modernize the story by superimposing a political intrigue à la Boris Godunov onto Bizet’s unsuspecting characters, with Mr Sedov’s Nouraband serving as the evil “old order” genius who masterminds the collapse of “liberal” Zurga’s rule. Since no one told the composer about this particular plot twist, there was little in the score to support it. Instead, it was delivered entirely via stage business, which required a lot of “extra-curricular” wandering about the stage from Mr Sedov who did manage to look suitably menacing most of the time.
Another directorial attempt to make Bizet’s dramatically challenging early work more palatable to modern audiences included the revamping of Act 3. It used neither the original love duet nor its common trio substitute, but did entail Leila partially disrobing, then getting assaulted during her duet with Zurga. Alas, the tedious scene was not at all improved by that spectacle. It did, however, allow Ms. Amsellem to showcase once again Leila’s fanciful costume of an orange sari wrapped around a classic “Oriental” ensemble of a skimpy pink top with bare midriff and the see-through harem pants.
The bright palette of reds, oranges, pinks, and turquoise greens dominated the vibrant décor by celebrated British fashion designer Zandra Rhodes. Among the often striking visual effects she created, enhanced by the excellent lighting by Ron Vodicka, particularly notable was the scene of Leila’s first appearance— carried on a live chariot by six men, immobile like a Buddha statue, her orange and gold veil spotlighted against deep purple backdrop. Rhodes’ design ideas were always vivid and always intriguing. What bothered me in her vision was the stylistic discontinuity between the sets and costumes. The latter were colorful, with a nod to geographic authenticity, and in tune with the production’s realist acting and staging. The former— deliberately perspective-less, two-dimensional, with fauvist-leaning color palette and a neo-primitivism-inspired images— were anything but “real.”
The designer’s closest stylistic ally in this production was John Malashock’s choreography, on display so much that it became almost as ubiquitous as Ms Rhodes’ sets. Indeed, even by dance-crazy French standards, ballet was often entirely superfluous, such as the number for what was evidently the “spirits of fire” that provided the background for the introduction to Leila’s Act 1 prayer. When staging The Pearl Fishers, Mr. Sinclair outlawed “proper” ballet as unsuitable for the subject; thus, there was not a pointed shoe in sight (or any kind of shoe, for that matter, as all the dancers performed barefoot). Rare nods to “Oriental” choreography were confined to women’s numbers, which unfortunately suffered from weak execution (this specifically refers to the quartet of Leila’s attendants). The male dances, in a counterpart to Bizet’s imaginary Ceylon, offered a picture of the “imaginary primitives” brandishing fighting pikes: their movements were athletic, aggressive, and purposefully inelegant, with ground stomping, angular hand and feet positions; pirouettes replaced by cartwheels. The Act 3 finale opened with a pas de trois in The Lion King-size animal masks— which was perhaps a little much, but it did save the director a major headache of having to come up with stage business for the endless choruses of this scene.
Norah Amsellem (top, veiled) as Leila, Trevor Scheunemann (foreground) as Zurga
Overall, the Washington audiences were presented with a solid, colorful, mostly traditional Les Pêcheurs de perles, well performed (despite some misgivings on my part) by a consistently good cast. The production, which runs through 7 October, offers few vocal fireworks; nor can it boast a truly new word in staging. Yet, for an old-fashioned opera lover, after last season’s symbolist Dutchman and Nazi-fied Tamerlano, these realistic and suitably “Oriental” Pearl Fishers might be a welcome relief.