22 Dec 2008
Berg’s Lulu at Lyric Opera of Chicago
In its new production this fall season of Alban Berg’s Lulu, Lyric Opera of Chicago has achieved a near ideal synthesis of music and drama.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
In its new production this fall season of Alban Berg’s Lulu, Lyric Opera of Chicago has achieved a near ideal synthesis of music and drama.
The psychological complexities linked to the depiction not only of the title character but also of her numerous admirers and associates could pose a daunting task to any company undertaking a new production of Berg’s final operatic work. Lyric Opera has met these challenges with respect both to Berg’s score and to his intentions for staging the opera as dramatic event. Under the musical direction of Sir Andrew Davis the complex score moves from passages of suspense and dramatic intensity to segments of lyrical beauty, the transitions forming a seamless bridge to both action and introspection. The new production commissioned by Lyric Opera is staged by Paul Curran who had scored a noteworthy triumph here with his production of Die Frau ohne Schatten in the previous season. In Curran’s vision for Lulu, the stage highlights traditional interior settings while using innovative lighting and projections in order to suggest developments in the portrayal of individual characters.
The figure of Lulu, as hinted in the prologue by the animal trainer and his menagerie, will represent female aspects of temptation, here taking on the simulation of a snake. A transition from the representative or symbolic tone of the prologue to a detailed realism of the first act demonstrates the creative approach of this production in combining the abstract and the concrete. Lulu, as sung by Marlis Petersen, is depicted in the opening scene of Act I surrounded by male figures who will play increasingly significant roles in her various transformations. Here Lulu sits for her portrait while listening to the self-motivated discussions initiated by Dr. Schön, a leading journalist, and by his son Alwa, who composes for musical theater.
In this first scene the primary male roles are not only introduced but also given skillful characterization by the singers in this production. As Dr. Schön the bass-baritone Wolfgang Schöne communicates the two-fold personality of a callous businessman whose determined authority nevertheless suffers from glints of weakness. Schöne has performed this role in other significant productions of Lulu, such familiarity surely elucidating the depth of his interpretation and his ability to interact on varying levels with individual characters. The role of Alwa is invested here by William Burden with a revelatory performance: as one of the characters — along with Lulu — who survives from the opening until nearly the end of the work, Alwa must remain vocally incisive and dramatically convincing in a variety of situations. Burden’s committed performance meets fully the taxing vocal demands of the tenor role. At the same time, while depicting the yearning musical writer who eventually succumbs to Lulu’s attractions, Burden’s dramatic skills add further to a memorable characterization. But it is the painter working on Lulu’s portrait who achieves amorous success with the title character in this initial scene. In the first of several roles that he covers in this production Scott Ramsay as the painter presses Lulu in a physically ardent, if vocally understated, plea for her affections. Shortly after she concedes to these advances, Lulu’s husband enters. As soon as the Medizinalrat comes upon this scene of marital disloyalty, he collapses dead of heart failure. Lulu’s reaction to the shock and sudden death of her husband is a gauge of the complexity of emotions that will continue to infuse Marlis Petersen’s portrayal throughout the production. A mix of curiosity and consternation indicates a character that is far from one-dimensional. The figure of Lulu — inhabited and communicated so effectively by Ms. Petersen — revels in adventure, suggesting at once a naïve lack of guile yet also a measure of complicity in the deeds and decisions to which she draws her suitors.
Marlis Petersen (title role) and Wolfgang Schöne (Dr. Schön) in Lyric Opera of Chicago’s new production of Lulu, directed by Paul Curran for the 2008-09 season. Photo by Dan Rest/Lyric Opera of Chicago
The musical and visual interlude between the first and following scenes establishes a technique which Curran uses to great effect in subsequent dramatic transitions throughout the production. During Berg’s orchestral interlude projections of images onto a screen suggest, by their change of shape or color, the progression of emotional, physical, or intellectual change in both individual characters and the constellation of the same. At the start of the second scene Lulu, who has inherited a respectable sum as widow, is now married to the painter. Countless sketches examples of her portrait adorn the walls. The figure of Schigolch — a character never fully identified from Lulu’s past — is introduced near the start of the scene when he knocks at the door of Lulu’s home and is presented with money by the heroine. In much the same way as the character Alwa, Schigolch will resurface periodically until near the close of the opera. In both solo and ensemble work bass-baritone Thomas Hammons as Schigolch proved to be an effective foil to Lulu’s carefree attitude. In their interactions a mutual enhancement could readily be perceived. Indeed Ms. Petersen’s impassioned singing of the repetition on “blind” in this scene with Schigolch underlined her dramatic involvement with exquisite controlled agility in the upper register of her voice. By the close of the scene Dr. Schön has revealed to the painter his ongoing liaison with Lulu, in this production a psychologically riveting exchange, the realization of which drives the artist to take his own life in a separate, enclosed room. The final scene of Act I reveals Lulu as a theatrical dancer thanks to the patronage of her former suitor Dr. Schön. Lullu’s effect on Schön and his impending marriage to another illustrates how Berg intends the lead character not only as a display of herself but also as a means to bare the true character of others. Ms. Petersen is especially effective here in showing Lulu’s vulnerability as well as her strength, both of which cause reactions among those surrounding her. Dr. Schön—- while referring to Lulu’s indestructibility — is now indeed persuaded to compose a written renunciation of his engagement.
The second act highlights Lulu’s marriage to Dr. Schön, his death by her hand, Lulu’s incarceration and time also spent in a medical ward, and finally her liberation and physical union with Alwa, the son of her dead husband. Throughout this act Lulu’s devoted female companion, the Countess Geschwitz, demonstrates her willingness to compromise and even to sacrifice her own well-being in order to save Lulu. As the Countess, mezzo-soprano Jill Grove sings with an appropriate and convincing dramatic urgency, lending her character’s personality aspects already encountered in the roles of Dr. Schön and Alwa. The interlude between scenes one and two takes place after Lulu has shot her husband and before the plans to release her from prison are realized. Berg’s musical interlude serves as the accompaniment to a black-and-white film of the arrest, trial, and subsequent confinement of Lulu. This extension of the projected images used between other scenes is a dramatic masterstroke, in which the actual singers are filmed and displayed in the cinematic style of the period.
In Act III of the opera the two scenes take place in Paris and London respectively. Lulu’s successful escape has led to reunion with the Countess Geschwitz and Alwa, although the search for Lulu as criminal has not abated. In their Parisian home Lulu and Alwa are surrounded by characters of questionable reputation and less than stable profiles in matters of finance. Lulu’s narrow escape from this atmosphere, as their investments collapse, brings her to London and the true realm of the underworld. She spends her time as a prostitute, living together with Schigolch, Alwa, and the Countess Geschwitz — before dying at the hands of Jack the Ripper, her final client. The last words belong here to the Countess Geschwitz, who has fallen as the second victim to Jack, before he leaves the London flat. With extraordinary pathos Ms. Grove intones, in her dying words, an unwavering feeling of the Countess’s devotion and love for the cherished Lulu.