Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

OPERA TODAY ARCHIVES »

Reviews

Katya Kabanova - English Touring Opera [Photo by Robert Workman]
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.

Leoš Janáček: Katya Kabanova

Katya: Linda Richardson; Kabanicha: Fiona Kimm; Varvara: Jane Harrington; Boris: Richard Roberts; Tichon: Colin Judson; Kudryash: Mike Bracegirdle; Kuligin: Bob Davies; Dikoy: Sion Goronwy; Feklusha: Helen Johnson. English Touring Opera. Conductor: Michael Rosewell. Director: James Conway. Designer: Adam Wiltshire.

Above: Linda Richardson as Katya [Photo by Robert Workman courtesy of English Touring Opera]

 

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.

etomagicflute-397.gifScene 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

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):