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

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).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

OPERA TODAY ARCHIVES »

Performances

Torsten Kerl (Paul) [Photo by Terrence McCarthy]
03 Oct 2008

Die tote Stadt at San Francisco Opera

Korngold’s third opera Die tote Stadt premiered in 1920 in Cologne, the composer a mere 23 years old. Back then, opera remained a living art form, with the likes of Strauss and Puccini keeping the public excited about new works.

Erich Wolfgang Korngold: Die tote Stadt

Paul (Torsten Kerl), Marie/Marietta (Emily Magee), Fritz, Frank (Lucas Meachem), Brigitta (Katharine Tier), Juliette (Ji Young Yang), Lucienne (Daniela Mack), Victorin (Alek Shrader), Count Albert (Andrew Bidlack), Gaston (Bryan Ketron), Paul's Double (Ben Bongers). Conductor: Donald Runnicles. Original Director: Willy Decker. Revival Director: Meisje Hummel.

Above: Torsten Kerl as Paul

All photos by Terrence McCarthy

 

Korngold’s third opera Die tote Stadt premiered in 1920 in Cologne, the composer a mere 23 years old. Back then, opera remained a living art form, with the likes of Strauss and Puccini keeping the public excited about new works. The Met, not wanting to miss out on any of the excitement, immediately grabbed this odd piece for its American premiere only a year later. Korngold’s next opera Das Wunder der Heliane premiered in Hamburg in 1927 but its generic musicality and moralistic satire failed to ignite enthusiasm on either side of the Atlantic. Never mind though, it was time to write movie music.

After its initial Met performances, Die tote Stadt had to wait more than fifty years to again seduce American audiences with the heavy nostalgia that permeates Korngold’s score. This time it was a brave excursion into rare but revered repertory by America’s only adventurous company of the time, the New York City Opera, where the 1975 Frank Corsaro staging remained in its repertory until 2006. San Franciscans had to wait even longer for Korngold’s enigmatic work.

Die tote Stadt is a masterpiece, at least in the hands of a stage director able to superimpose the real and the imaginary, of an indulgent conductor able to sustain its unending waltzes and revivals of a single tune, of a tenor able to sing loud and long and high, and of a soprano able to do the same as well as impersonate a cabaret dancer. All this the San Francisco Opera brought over to us from the Salzburg Festival where it originated in 2004, with a brief stop in Vienna to pick up soprano Emily Magee.

Die tote Stadt is a tour de force for everyone involved. The formidable role of Paul, the bereaved husband of the dead Marie, belongs these days to Torsten Kerl, who continues on to London with this superb Willy Decker production. Frank, Paul’s friend and finally rival for the attentions of the dancer Marietta, is the third of the opera’s formidable roles, particularly as it is tied to the Pierrot song and antics of Fritz who taunts Paul in Marietta’s cruel commedia dell’arte improvisation on death and resurrection. The staging of this complicated scene (as well with the entire opera) was entrusted to and effectively realized by Meisje Hummel, an assistant for the Salzburg premiere.

Marietta.pngEmily Magee (Marietta)
There is no doubt that the piece casts its spell from the first note. The San Francisco audience gave its immediate and full attention to Korngold’s rich sound, conductor Donald Runnicles lovingly pulling forth its thick and weighty sonorities from San Francisco Opera orchestra. The big tune from the opera, “Marietta’s Lied” comes fairly early but it is really a duet for Paul and Marietta (though it is far better known as a stand alone concert aria for soprano), and this tune comes back many, many times, finally as Paul’s wrenching farewell to his dead wife.

The message of Die tote Stadt is simple – there is no resurrection. It is a plain statement, unadorned with philosophic and religious implications, forcefully presented with the full resources of the post Romantic orchestra with expanded percussion. The Willy Decker production assumes equal proportion in a conception that sometimes juxtaposes and other times superimposes Paul’s present upon Paul’s past, resulting in a confusion of life with dream that brings a whirling corporealness to what is cold and dead. These are the brilliant designs of Wolfgang Gussmann whose black boxes and shadowy abysses inhabited by Decker’s real people and by their shadows. The production means are both enormous and delicately expended.

TroupMarie.pngPaul and troupe

Donald Runncles resonated mightily with Korngold’s over-the-top sonorities. Torsten Kerl is justifiably famous for the role of Paul. Emily Magee brought impeccable musical taste and character dimensionality as the nemesis of the dead wife. San Francisco Opera’s particular contributions to its performances of the Decker production were adequate. The Frank of Lucas Meachem fulfilled the formidable needs of this role, though it lacked the weight as antagonist to counter balance the musical and dramatic personalities of the production’s protagonists. The Brigitta of Katharine Tier was similarly out of balance. The well-performed commedia scene added enormously to the many pleasures of this production.

Michael Milenski

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):