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?
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!
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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
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.
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.
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.
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.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
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