25 Nov 2008
Debussy’s Pelléas - a fine swansong for Independent Opera in London
Pelléas et Mélisande in a 200 seat theatre, with just 35 musicians and no pit?
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
Pelléas et Mélisande in a 200 seat theatre, with just 35 musicians and no pit?
For many devotees of Debussy’s great work this might have seemed heresy and doomed to failure, but they would have been wrong. For three nights at Sadler’s Wells’ Lilian Bayliss Theatre in London last week capacity audiences were treated to not only a magnificently innovative production but also to a highly successful and totally sympathetic orchestral reduction of the score that never once sounded thin or lacking in texture and Debussian detail.
Add to this some very promising young voices, nurtured in the tradition of Independent Opera, and this was a fine way to end, sadly, a programme of opera stagings by Independent and to set the bar high for any similar undertakings in the future.
The atmosphere of fatalism, of humans moving within the eternal constraints of their kind, enclosed in the “forest” of the castle’s stifling social norms was brilliantly realised with a dark set consisting of 3 zig-zag wooden walkways supported by pillars which created both a “pit” for the musicians underneath and an exit and entry space, on occasion, for the singers. The castle’s permanent residents, Arkel and Geneviève, move mainly on wires controlled by “servants” (or masters?)visible at the sides of the walkways, presumably indicating their incapacity to break out of the prison of their own making, whilst the other characters are “free” to move at will. All are dressed in the constricting costumes of the opera’s own time, circa 1902, and everything seems to have a patina of dust and dereliction about it, with both castle and grotto, forest and seashore, merely hinted at with single props and occasional flats. Mélisande, the focus and intuit of this psychological drama, seems to emerge from these shadows, is illuminated briefly and fatally as she embarks on her relationships with Golaud and Pelléas, and returns to whatever realm she came from, leaving her child as legacy, or, possibly, her curse.
If the design, set and direction (Madeleine Boyd/Alessandro Talevi) worked memorably well, then it was entirely complemented by Stephen McNeff’s scholarly but entirely sympathetic new orchestration for 35 instruments. Never once did one feel anything was missing — the smaller space absorbed the smaller string sound, and other important Debussy sound-world effects were retained by clever reallocation of parts. Significant obbligatos — flute, harp, oboe etc — were all there, and if this put more strain on the soloists, it didn’t show. Stylish and dramatic by turn, effortlessly idiomatic, conductor Dominic Wheeler gave this refined version the attention it deserved.
The singing was uniformly good, sometimes excellent, with the many French speakers in the cast keeping the all-important rhythm and style of the libretto intact. If Ingrid Perruche was a trifle too robust, both vocally and physically, for an ideal Mélisande, there was no doubting her abilities to interpret the text intelligently. Her most believable Pelléas was the young Norwegian baritone Thorbjørn Gulbrandsøy who, after a slightly strained start, sang with fluency and the requisite ardour, making light of the high tessitura. In perfect contrast to him was the dark, resonant bass-baritone of Andrew Foster-Williams as the tortured Golaud, a singer whose voice has blossomed into something very special these past few years. The tone was fully supported and consistent through the range, he has power to spare and obviously relishes this kind of dramatic challenge relatively early in his career; it cannot be long before his Golaud is taken up by a major house. The Arkel of bass Frédéric Bourreau was assured and poignant — he managed to convey a sense of what the old king might once have been — whilst Marie Elliot as Geneviéve used her warm mezzo to good effect, despite the quite literal confines of her role. Young soprano Caryl Hughes as the child Yniold cleverly whitened her voice to almost boy-soprano tone and was convincing as the innocent vaguely troubled by what he observes around him. Young Czech bass Vojtech Safarik sang his few Doctor’s lines with assurance.
Ingrid Perruche (Mélisande) and Andrew Foster-Williams (Golaud)
This was opera as it should be but seldom is — innovative yet respectful, ambitious yet pragmatic, and above all committed to the development of talent in all departments. We shall miss Independent Opera’s productions in the UK and can only hope that their ideals are carried on elsewhere.
Sue Loder © 2008