Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

Gerald Finley as J Robert Oppenheimer, Thomas Glenn as Robert Wilson, Brindley Sherratt as Edward Teller [Photo by Catherine Ashmore courtesy of English National Opera]
05 Mar 2009

Dr Atomic lands on London with a bang

To say that Dr Atomic landed in London with a bang is shocking, but the subject it deals with is meant to be disturbing. Unlike the scientists at Los Alamos, we can’t live in denial of the wider implications. This isn’t history. It’s a universal dilemma, utterly relevant today.

John Adams: Dr Atomic

Brindley Sherratt (Edward Teller), Gerald Finlay (J Robert Oppenheimer), Thomas Glenn (Robert Wilson), Sasha Cooke (Kitty), Jonathan Viera (General Leslie Groves), Roderick Earle (Frank Hubbard), Lee David Bowen (Captain Nolan), Meredith Arwady (Pasqualita), Chorus and Orchestra of the English National Orchestra, Lawrence Renes (conductor), Penny Woolcock (director).

Above: Gerald Finley as J Robert Oppenheimer, Thomas Glenn as Robert Wilson, Brindley Sherratt as Edward Teller [Photo by Catherine Ashmore courtesy of English National Opera]

 

On the surface, there’s little overt action. Oppenheimer and his colleagues stand about talking, but therein lies the drama. But remember Waiting for Godot. The angst is existential, directed inwards. There is no overt commentary in the libretto, either. Instead, texts are taken from documents and letters of the time, presenting evidence without explicit judgement, for there are no easy answers. The words hang in limbo, like the photograph of the wall in Hiroshima standing amid the rubble, a mute witness to horror.

The atmosphere is claustrophobic, tinged with paranoia. If the action drags at first, it recreates the tedium and tension at Los Alamos, which is central to the drama. How do scientists, men of reason, get caught up in barbarity? Oppenheimer himself was an educated, civilized man who was later persecuted for his political beliefs. The scientists on the Manhattan project didn’t know the full consequences of what they were doing and were in denial. Audiences at Dr Atomic have images of Hiroshima and the Cold War seared into their memories and cannot escape.

The lyrical episodes Adams builds into the opera are essential to the whole meaning of the opera. Oppenheimer quotes Donne, Baudelaire and other poetry. It’s an escape to a more ideal world, but he’s deeply conflicted. The song “Batter my heart” is Ground Zero in this opera, utterly pivotal and beautifully written. Gerald Finley sings it with conviction, and doesn’t flinch from its irony. “Reason….me should defend, but is captived, and proves weak or untrue”. It’s so powerful that it would obliterate anything that followed. We leave the first act stunned, to ponder it in the interval.

Perhaps the secret to this opera is not to expect action from the words, but from the music. Orchestrally, this is surprising rich and beautiful, the choruses in particularly well supported. The ENO chorus and orchestra have performed Adams before, most recently Nixon in China but this isn’t traditional repertoire, so they deserve credit for achieving such good results. Lawrence Renes conducted the European premiere of the original staging at Der Nederlandse Opera in 2007. Experience shows.

This production, by Penny Woolcock, who directed the Death of Klinghoffer film, makes much of the Teva Pueblo. Just as the scientists do the bidding of politicians, the Pueblo serve the scientists. But they observe, they are the conscience of nature. The production starts with a wall of photographs showing the scientists formally posing, as if for mug shots. Later, they are replaced by Pueblo, standing in the cavities of the wall, as if in a massive canyon. They sing from the Bhagavad-gita, prophecying doom. “Your shape stupendous”, they repeat, to booming percussion, “All the worlds are fear struck”.

Special mention should be made of Meredith Arwady’s dark contralto, seething suppressed passion. Pasqualita is a small part, but essential. Kitty is too distressed to mother her baby, but Pasqualita nurtures.

doctor_atomic_017.gifFull Stage [Photo by Catherine Ashmore]

The final scene is overwhelming. The orchestra builds up to a harrowing climax, rolling thunder as it the skies were rent asunder. As the cast stare upward, transfixed, the bomb explodes. The whole auditorium is bathed in unearthly yellow light. This is what “awesome” really means - it is magnificent as theatre. But lest we be too impressed, the voice of a Japanese woman cries out for water. All that power, all that knowledge, was to be channelled for destruction.

Superb singing from Gerald Finley who has made Oppenheimer his speciality, and also for Brindley Sherratt who was impressive recently as Pimen in Boris Gudonov. Sasha Cooke characterises the brittle Kitty well. The whole cast is strong but chorus and orchestra ground the production with firm purpose. The whole cast is strong but chorus and orchestra ground the production with firm purpose. The ENO has long had a reputation for choosing innovative and challenging work : this Dr Atomic epitomises what the ENO stands for.

Anne Ozorio

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):