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 Reviews

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

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.

OPERA TODAY ARCHIVES »

Reviews

Donna Bateman (Rusalka) [Photo by Robert Workman]
04 Nov 2008

Rusalka and La tragedie de Carmen by English Touring Opera

Of their two tours per year, English Touring Opera tends to channel the majority of the budget into the Spring season, and the Autumn tour – despite a focus in recent years on some high-quality Baroque chamber works, which lend themselves well to the size of the venues around the UK which the company visits – can be rather noticeably the poor relation.

Rusalka and La tragedie de Carmen by English Touring Opera

Above: Donna Bateman (Rusalka)

All photos by Robert Workman courtesy of English Touring Opera

 

So Carmen and Rusalka seemed an ambitious prospect for this year's Autumn slot, without any apparent increase in resources.

One of the two, Rusalka – Dvorak's retelling of the Undine fable dealing with loss of innocence and the impossibility of survival in an alien world – reached the stage almost intact. The original orchestration is of Wagnerian proportions, and inevitably a 13-piece reduction (created for the Iford Festival by Ian Farrington) cannot create a sound-world of anything approaching the same depth, but there were few actual cuts, and the small orchestra under conductor Alex Ingram did its best to sound sumptuous and shimmering.

Director James Conway has chosen to present the opposite worlds of the water-dwellers and the humans through the medium of a real-life cultural divide – the American colonisation of Haiti in 1915. The casting reflected this, with black singers as the Water Sprite and nymphs, and white singers in the human roles. The only exception was the white Jezibaba, ostensibly a survivor of Haiti's indigenous Taino race – though I confess I wondered if this angle might have been dreamt up because ETO couldn't think of a black mezzo to cast in the role.

The general concept, though, was ingenious, successfully conveying a culture of unwitting ignorance and an irreconcilable chasm of difference between peoples, each 'side' unconsciously incapable of viewing the other as equal.

In the title role, Donna Bateman lacked legato occasionally, but her performance was full-voiced, passionate and involving, a very physical portrayal of a would-be free spirit who feels trapped and unfulfilled in her own world, but who finds that every step she takes only leads her to a new prison. As the Prince, Richard Roberts had ardour, good looks and a lyrical, evenly-produced tenor, while Fiona Kimm's Jezibaba was a tour de force.

Keel Watson was a characterful Water Sprite, his full bass caressing the melancholy falling phrases. The trio of nymphs – Angela Caesar, Abigail Kelly and Alison Crookendale – were mellifluously pleasing to the ear when singing together, with Caesar's light and attractive soprano a particular solo highlight. The Gamekeeper (Maciek O'Shea) and Turnspit (Jessica Summers) were lively and engaging in their second-act cameo, while as the Foreign Princess, Camilla Roberts was vocally powerful, full of hauteur and chillingly unpleasant in her snide insults towards Rusalka.

rusalka_092.pngMaciek O'Shea (Gamekeeper), Jessica Summers (Turnspit)

The staging and lighting were very simple, with minimal set and a backdrop consisting of a giant corrugated moon.

carmen_115.pngLeah Marian Jones (Carmen)
Far more adventurous, though maintaining the theme of cultural contrast, was La tragedie de Carmen, Peter Brook's short theatrical piece based on, but not a direct equivalent of, Bizet's opera. In an effort to be faithful to the spirit of Mérimée, it presents the bare bones of the story in a single act, a nightmarish sequence of flashbacks haunting the demented Don José, who at the start has Carmen's blood fresh on his hands.

Brook's version was created in 1981 and is only licensed for performance in French, which – although ETO prefers to perform as much as possible in English – director Andrew Steggall capitalises upon, staging it as a film noir. It all feels quintessentially French: the Carmen, Leah-Marian Jones, with her fair colouring and feline eyes and demeanour, comes across as a sultry French chanteuse a la Marlene Dietrich rather than a gypsy.

Marius Constant's score, freely adapted from Bizet's, makes imaginative use of orchestral colouring, using percussion to particularly evocative effect. All Carmen's own arias survive, but she sings them as introspective solo concert-pieces not addressed to anybody in particular, and Nicholas Garrett is made to croon the Toreador Song in a similarly intimate and non-operatic style. The straight 'operatic' numbers bloom like moments of unexpected beauty, and are mostly reserved for Don José (David Curry) and Micaela (Sinéad Campbell-Wallace), evoking the world of innocence from which they originate.

La tragédie is a juxtaposition of this musical beauty with raw, violent horror; in little over an hour, Don José is dragged further and further into obsession and madness, bludgeoning Carmen's gypsy husband with a bull's skull in a breathtaking piece of shadow-play. Not even Escamillo gets out of the nightmare in one piece.

carmen_160.pngMaciek O'Shea (ZUNIGA), David Curry (Don Jose)

It is the kind of piece which would normally lend itself to performance in an off-West-End studio by a cast of theatrically-trained singing actors, and it was a luxury to hear it performed by opera singers. Moreover, it was an extremely powerful drama.

Ruth Elleson © 2008

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):