Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

OPERA TODAY ARCHIVES »

Performances

Karita Mattila in the title role of Richard Strauss's
21 Oct 2008

Salome at the MET

We ought to consider – as opera’s current reigning soprano, Karita Mattila, has certainly considered, though I’m not so sure about director Jürgen Flimm – who, what, and how old Salome is.

Richard Strauss: Salome

Salome: Karita Mattila; Herodias: Ildikó Komlósi; Herod: Kim Begley; Jochanaan: Juha Uusitalo; Page: Lucy Schaufer; Nazarene: Morris Robinson. Conducted by Patrick Summers. Production by Jürgen Flimm. Metropolitan Opera.

Above: Karita Mattila in the title role of Richard Strauss's "Salome." Photo: Marty Sohl/Metropolitan Opera

 

To the evangelists, Matthew and Mark, she was not a personality at all; they do not even give her a name – she’s just the daughter of wicked Herodias, a child with no character, will or desires of her own, or a figure (as they tell it) in anyone else’s desires. Herodias, Princess of Judaea – as always before Wilde – was the villain of the piece, and she’s angry that a hermit from the desert has dared to criticize her marital rearrangements.

SALOME_Komlosi_as_Herodias_.pngIldikó Komlósi as Herodias in Richard Strauss's "Salome." Photo: Marty Sohl courtesy of Metropolitan Opera

Oscar Wilde did not get his plot from the Bible – he got it from Flaubert’s Orientalist novella, Herodiade (also the basis for a ghastly Hollywood movie starring Rita Hayworth and Judith Anderson), into which he tossed the wild (sic) card of his sympathy for innocents corrupted when they acknowledge the sex urge. This neurotic and personal vision – which had not yet worked itself up into tragedy in his own life, as it soon would – is the Salome he wished to behold on stage: himself as naïve young thing. Salome is aware of her power and her beauty but innocent of desire. The sight of the incongruous Baptist, so unlike the elegant decadence of her native milieu, so much cleaner in his filth, and so ready to taunt the mother she hates frees Wilde’s Salome to understand her own body – and to desire another’s. The story then could go either way: she could renounce sensuality to follow the saint (as she does in Massenet’s Herodiade) or yield to it and destroy him – and thus her own guilt-wracked self. That is what Wilde presented in his scandalous play – written en Français for Sarah Bernhardt, who never risked playing it – the piece could not be given in England at all, as Bible stories were forbidden on the stage at that time. (Saint-Saens’s Samson et Dalila was given in London as an oratorio. Herodiade did not appear at all. Strauss’s Salome was long banned in England, as it was at the Met.)

SALOME_Begley_as_Herod_1600.pngKim Begley as Herod in Richard Strauss's "Salome." Photo: Marty Sohl courtesy of Metropolitan Opera

This sexless, unaware child not the Salome we usually get in the opera house. Strauss may or may not have approved of the lost-little-girl hypothesis, but he wrote her music for Wagnerian pipes, and few indeed are the singers who can hurl it over a hundred-instrument orchestra while impersonating a prepubescent. Too, Salome is nowadays (unlike in Strauss’s day) expected to do her own dancing without a ballerina body double, and childish restraint is seldom a feature of these solos. (Teresa Stratas, who sings, acts and dances a credible nymphet in my favorite film of the opera, would never have risked so heavy a role in a theater.) We go to Salome expecting to suspend disbelief about a great deal more than a papier-mâché head.

SALOME_Uusitalo_as_Jochanaa.pngJuha Uusitalo as Jochanaan in Richard Strauss's "Salome." Photo: Marty Sohl courtesy of Metropolitan Opera

When Mattila first sang the part at the Met in 2004, her performance was stunning but dangerous: the gorgeous silvery sheen that we have loved in her Jenufa, Katya, Lisa, Elsa, Eva, Chrysothemis, Elisabetta was in trouble, pushing her close to the edge of control. She did not sing the part again after that run, anywhere, until this season, and she has rethought her approach. You can sing Salome on the high part of your voice or on the low, and she has – wisely, in my opinion; but this is a singer who has always known exactly what she was doing – reconsidered. There was the safety of her instrument for one thing (now that she is crowding fifty); too, there is the HDTV audience to consider, the closeup factor far from incidental to any singing actress as perfectionist as Mattila: these performances will be broadcast around the world this Saturday, will live on on television and tape.

Now she sings the music low. The notes are the same, but they are formed, I think (I do not have vocal training) in a different part of her diaphragm, and they sound different, heavier, deeper. The light, silvery glamour of the voice that sang Jenufa is represented here only in her idle musings on the moon (“she is like a virgin … I’m sure she is chaste”), when, drunk on too much wine in this production, she lets her head fall back and gazes ecstatically skywards. (There is no visible moon – we are to imagine that the terrace faces west, and the moon is setting across the fourth wall. At the opera’s end, the sky turns pale behind the singers, and clearly the sun is about to rise there – the new era Jochanaan has been talking about.) The silver returns again, a touch of sarcasm (broadly hinted by Strauss), when she tells Herod what she wants as a prize for dancing.

There are many grunts and grumbles in the way Mattila puts out Salome’s consciously outrageous teasing of Narraboth, Jochanaan and Herod – and they are all conscious choices of the singer. She is playing a spoiled teenage brat, who finds the formal manners of grownups boring. Her great monologues, too – the attempt to seduce Jochanaan, the final song to the head – are lower, meatier, darker; their sinister imagery more ominous when sung from this angle. In 2004, she sang Salome as an aspirant diva; in 2008, she’s a brat.

Her acting, too, had acquired detail: she portrays a girl who has been tasting champagne for the first time and had far too much of it, and at the first performance (but not the second I attended, so I imagine it was impromptu), when the amorous Syrian she has driven to suicide (an impressive Joseph Keiser) fell on the path in her way, she hopped over him as if he were some embarrassing accident. Too, at the conclusion of the opera, where Wilde (and Strauss) called for her to be unaware, crushed by the shields of Herod’s soldiers, and the Flimm staging instead has the executioner approach her, machete drawn, Mattila jumps up, pulling open her robe, as if conscious of defilement and eager to have it flayed out of her. The new, lower-focused voice risks less on the soaring Straussian curves, but it’s very beautiful and fills the house with ease and assurance. The dance, on the other hand, I continue to find over the top, and the loose seat of men’s trousers do not suit her voluptuous, utterly female body. But this is a Salome to remember, to hold as a standard for others, as Lubitsch and Nilsson were so long the standard for all Salomes.

SALOME_Mattila_Uusitalo_132.png(Left to Right) Juha Uusitalo as Jochanaan, Karita Mattila as Salome, and Keith Miller as the First Soldier in Richard Strauss's "Salome." Photo: Marty Sohl courtesy of Metropolitan Opera

She is surrounded by an exceptional supporting cast. Ildikó Komlósi reminds us that Salome’s role as belle of the royal feasts is new, that mama has been holding this corner for quite some time – and like many a queen bee, she is torn between pride and jealousy of her newly aware, nearly grownup daughter. Komlósi is more society hostess and, later, droopy drunk, than the sinister monstrosity of so many productions, and she sings with a juicy, full-throated mezzo that should have a grand time with Ortrud and the Amme. Juha Uusitalo, though a bit stout for a man on a diet of locusts, sings Jochanaan’s sermons with brute intensity and correctly refuses to glance in Salome’s direction. Kim Begley makes a suave, corpulently lecherous Herod – in his willingness to play the fool for a good time, he reminded me of Nikita Khrushchev. Morris Robinson sang an impressive Nazarene, and the many small but notoriously difficult small roles were well handled. Patrick Summers has a wicked way of conducting Strauss, insinuating, hissing snakes rather than roaring lions, and the orchestra played like a dream for him – the many subtle cues for the entrance of this or that character timed to perfection, so that the motif seemed to rise like moondust from each actor’s feet.

Jürgen Flimm, whose Fidelio was at once ugly and irrelevant, though not when Mattila was on stage in it, sets Salome in something like a modern Emirates resort hotel on the desert’s edge – the gowns, aside from Salome’s shimmering silver, seem to be Vegas outrageous; while the soldiers are in Arab headgear and fatigue kilts. Flimm brings on huge winged angels of death (isn’t there just one?) to sit on the dunes silently whenever fatality is imminent, and Jochanaan is awkwardly raised and lowered on a makeshift elevator. What five Orthodox Jews in earlocks are doing at such a party, and why the Nazarenes, who are not invited guests at all (would they come?), are strolling about the desert is unclear – no doubt Flimm wishes he could discard them altogether in favor of the silent females in cocktail dresses who were not in Flaubert, Wilde or Strauss. Like so many modern directors, Flimm gets a few clever ideas and then runs out of them with half his opera unaccounted for. He may charm Madame Mattila (and I willingly kowtow to her desires, however – in Flimm’s case – perverse), but he doesn’t appeal to me, and I doubt his staging or Doug Varone’s choreography of the Dance will serve other sopranos half so well.

John Yohalem

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):