24 Mar 2009
Katya Kabanova/The Magic Flute — English Touring Opera, Hackney Empire Theatre
English Touring Opera is 30 years old this year, and has never been more adventurous.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
English Touring Opera is 30 years old this year, and has never been more adventurous.
Later this year the company will be dispensing with the usual two- or three-opera tour format, as well as their now-regular opening venue of the Hackney Empire, in favour of a five-opera Handel festival at the Britten Theatre in this 250th anniversary year of the composer’s death.
For the spring tour, though, the format is largely the familiar one: an opera from the borderline of the standard repertoire paired with a popular hit that will guarantee consistent ticket revenues. As this is a major birthday for the company, there are a few concert performances of Norma thrown in for good measure — about which more in late April.
James Conway’s production of Katya Kabanova, with a set design by Adam Wiltshire, looks a little like a miniature version of Trevor Nunn’s 1994 production for Covent Garden, all grey colours and sloping wooden walkways. My only real complaint here would be that neither ETO’s production nor the orchestra made much of an attempt to evoke the Volga, whose presence is so central to the opera that it is virtually a character in its own right. As a minimum, Katya’s death plunge (a cramped and unconvincing affair) really needs sorting out before the tour goes much further.
In a fairly small space and with a reduced orchestra, the full lyrical power of Janacek’s scoring was never really going to be a possibility, though one could hardly have asked for better playing from the forces available. Conductor Michael Rosewell ensured that the the musical line was tautly controlled and powerfully driven, and paid detailed attention to the expressiveness of the more transparent and intimate moments.
But here the vocal performances made the greatest impression. The title role was compellingly and radiantly sung by soprano Linda Richardson, who managed to convey the essence of the lively spirit and physical beauty trapped behind the dowdy façade Katya has been forced to adopt. Mezzo Fiona Kimm was a truly despicable Kabanicha — and I mean that in the most complimentary sense. Like her Jezibaba in last autumn’s Rusalka, there was a grandeur to her stage presence which defied her petite stature; the physical contrast between her and Dikoy — the immensely tall and broad Welsh bass Sion Goronwy — made the nature of their relationship all the more telling. Colin Judson’s Tichon was a perfect portrait of a man who wouldn’t know how to stand up to his mother even if he wanted to.
Jane Harrington was an ideal Varvara, her voice and manner warm, lively and straightforward; together with Michael Bracegirdle’s Kudryash and Richard Roberts’s Boris, they made a vivacious trio of youngsters who served to highlight only too plainly how Katya’s own life might have been.
Onto the next night, and there was predictably a full house for The Magic Flute. When the curtain went up, it at first seemed that the production might be quite unconventional: Tamino’s serpent is a writhing chain of contemporary(ish) whores and playboys, his wilderness a human one. A clean-cut youth dressed smartly in a pale jacket, the prince (Mark Wilde) is an obvious outsider to the black and silver lace of the figures which dominate his nightmare world. There’s even some suggestion that Papageno (complete with fluttering birds borne by scurrying members of the chorus) might be a drug-induced hallucination, and Tamino is rightly unsure where vision ends and reality begins. The Queen of the Night makes her first appearance from the rear centre stage with an immense royal-blue train which fills the entire set; as she sings, it has rolling waves like a nocturnal sea. But as she turns to make her exit, the train disappears through a trapdoor leaving her clad in black; from then on, reality stabilises somewhat, and Tamino’s quest of self-discovery continues along more conventional lines.
Scene from The Magic Flute [Photo by Robert Workman courtesy of English Touring Opera]
The production remains slightly surreal throughout, being set in an enclosed room with panelled walls painted a deep blue, several doors and trap-doors, and an aperture at the rear which is used for grand entrances and whenever a visual focal point is required. The guiding role of the three boys (here sung by women, as is practical for a touring production) is underlined by their surprising costumes, with skirts made of lit lamp-shades. There are a lot of lights and lamps in this dark-coloured staging, but these are often confusing to the adventurers rather than illuminating; at one point a forest of standard-lamps springs up around Papageno as he searches for his Papagena. The young American soprano Paula Sides was a passionate Pamina, her soprano richer and more complex than is often heard in this role. Other than a slight hardness under pressure at the top of her voice, she sounded truly glorious, with some beautifully controlled pianissimo singing towards the end of ‘Ach, ich fühl’s’. Also vocally impressive was Laure Meloy as the Queen of the Night, again with a fuller and more refulgent tone than many; however, although she cut an imposing and elegant figure, her body language conveyed little in the way of rage and fury. Andrew Slater’s Sarastro had physical presence aplenty, but vocally he lacked weight and authority. Daniel Grice’s Papageno had energy and good humour although his bright and forward baritone was rather monochrome and unvarying in volume.
A little more variety would have been welcome in other areas too. In the pit, Paul McGrath started the overture with such pointed deliberation that I feared it could be a long evening, but if anything he tended towards the other extreme; ‘In diesen heil’gen Hallen’ had a folk-tune feel to it, and if ‘Ach, ich fühl’s’ had been any faster it would have been one-in-a-bar. Generally his approach succeeded in maintaining momentum, but it sidelined the moments of grandeur, reflection and calm.
Singing in Jeremy Sams’s gently humorous English translation (well-known to London audiences from ENO’s popular production), the cast generally did an excellent job with the English text.
Ruth Elleson © 2009