01 Dec 2008
Carmen at the Washington National Opera
From the director’s point of view, there are two ways to approach staging an opera.
O/MODƏRNT is Swedish for ‘un/modern’. It is also the name of the festival — curated by artistic director Hugo Ticciati and held annually since 2011 at the Ulriksdal’s Palace Theatre, Confidencen — which aims to look back and celebrate the past ‘by exploring the relationships between the work of old composers and the artistic and intellectual creations of modern culture’.
Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels. Goerne programmes are always imaginative, bringing out new perspectives, enhancing our appreciation of the depth and intelligence that makes Lieder such a rewarding experience. Menahem Pressler is extremely experienced as a soloist and chamber musician, but hasn't really ventured into song to the extent that other pianists, like Brendel, Eschenbach or Richter, for starters. He's not the first name that springs to mind as Lieder accompanist. Therein lay the pleasure !
It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.
With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.
Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.
If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.
Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.
For Opera Theatre of Saint Louis, “everything old is new again.”
Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?
Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.
On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.
Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.
Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.
Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.
The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.
Die Entführung aus dem Serail was Mozart’s ﬁrst great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.
The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.
This was an adventurous double bill of two ‘quasi-operas’ by Hans Werner Henze, performed by young singers who are studying on the postgraduate Opera Course at the Guildhall School of Music and Drama.
High brick walls, a cavernous space, entered via a narrow passage just off a London thoroughfare: Village Underground in Shoreditch is probably not that far removed from the venue in which Henry Purcell’s Dido and Aeneas was first performed — whether that was Josiah Priest’s girl’s school in Chelsea or the court of Charles II or James II.
Hats off to Garsington for championing once again some criminally neglected Strauss. I overheard someone there opine, ‘Of course, you can understand why it isn’t done very often.’
From the director’s point of view, there are two ways to approach staging an opera.
It can be an ensemble work, with the main roles given relatively equal weight, and interaction between the characters central to plot development. An opera production can also be a star vehicle, in which a single principal (or more rarely, a pair of leads) carries the performance, while the rest of the cast plays supporting roles that sets off the drama of the “stars.” Some operas may be conceptualized either way, while others lend themselves naturally to one staging type or another: La bohème, for instance, works best as an ensemble piece, while Boris Godunov, particularly in its 1869 version, revolves around its protagonist. Arguably, so does Carmen whose femme fatale heroine writes not only her own tragic fate, but those of at least two other principals, Don José and Micaëla (the self-involved matador Escamillo will probably get over her death soon enough).
Sabina Cvilak as Micaela, Thiago Arancam as Don Jose. [Photo by Karin Cooper]
The absolute necessity of mezzo star power for a successful Carmen has once again been demonstrated by the Washington National Opera’s current production of Bizet’s classic. The fabulous DC native Denyce Graves completely dominated on stage as the seductive gypsy, with both her colleagues and the audience content to let her rule not only Don José’s heart, but also Georges Bizet’s score. Ms Graves allowed herself quite a few liberties in text projection, pitches, and timing of her part. Yet somehow, even the most fastidious purist would not have minded such an open desire for “liberty,” to quote the lady herself. She was utterly convincing in her interpretation; and if the locals saw more a fast-talking broad from South-East DC than a factory girl from the gutters of Seville, well, so much the better. Of much help were the gorgeous reds and oranges of Lennart Mark’s flamenco-inspired costumes, and the percussion section of the orchestra, which thankfully did not follow Ms Graves’s pliable relationship with time, and accompanied her dancing tastefully and precisely. Most importantly, to the singer’s credit, she has crafted her heroine’s image beautifully, knowing when to seize the limelight and when to fade into the background. The Act 2 quintet turned out to be one of the most successful moments in the production precisely because Ms Graves stepped back and blended with the ensemble. Yet later in the scene, her pitch-perfect, richly textured call “Amour ,” thrown to Escamillo from across the stage, turned not only the matador’s head, but everyone else’s in the building.
Denyce Graves as Carmen with WNO Chorus. [Photo by Karin Cooper]
Of course, with Denyce Graves, acclaimed as “the definitive Carmen,” on the playbill, a powerful protagonist in this WNO production was to be expected. More unusual was the fact that the sentimental lyrical soprano Micaëla, traditionally the weakest link in Bizet’s quartet of leads, almost managed to stand up to her rival. This thanks to Sabina Cvilak’s convincing performance, still a little shaky in Act 1, but seemingly having grown with her heroine toward a strong, powerful Act 3 finale. The men of the cast, on the other hand, were almost invariably unimpressive. Not that they did not try to make their mark. Both Thiago Arancam as José and Jorge Lagunes as Escamillo struck the right poses and delivered their high notes with panache; the Flower aria turned out quite well as a result, the torero’s infamous couplets rather less so. For the most part, however, the two male leads sounded weak and much too easily dominated by their ladies. Carmen’s derisive laugh moments before her demise seemed therefore right on target - John Marcus Bindel as Zuniga, and hilarious James Shaffran and Peter Burroughs as Le Dancaire and Le Remendado respectively all left her poor tenor in the dust The solid support cast and the girl power, however, were enough to ensure a quality production and an enjoyable evening of “all about Carmen.”