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 22nd 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

(Left to right) Beau Gibson (Froh), Vitalij Kowaljow (Wotan), Wayne Tigges (Donner), Michelle De Young (Frika), (rear) Ellie Dehn (Freia) [Photo by Monika Rittershaus]
15 Mar 2009

LA “Ring” up and running

LOS ANGELES: On February 21 the capacity audience in the Dorothy Chandler Pavilion was overwhelmed by the staging of Das Rheingold that launched the Los Angeles Opera’s new production of Der Ring des Nibelungen. So was Wagner.

Richard Wagner: Das Rheingold

Wotan, Vitalij Kowaljow; Loge, Arnold Bezuyen; Alberich, Gordon Hawkins; Mime, Graham Clark; Fricka, Michelle Deyoung; Erda, Jill Grove; Fasolt, Morris Robinson; Fafner, Eric Halfvarson; Freia, Ellie Dehn; Donner, Wayne Tigges; Froh, Beau Gibson; Woglinde, Stacey Tappan; Wellgunde, Lauren McNeese; Flosshilde, Beth Clayton. Los Angeles Opera. James Conlon, conducting.

Above: (Left to right) Beau Gibson (Froh), Vitalij Kowaljow (Wotan), Wayne Tigges (Donner), Michelle De Young (Frika), (rear) Ellie Dehn (Freia)

All photos by Monika Rittershaus courtesy of Los Angeles Opera

 

Be that as it may, this first installment of the four-opera Ring slated for completion by the LAO in 2010, was an auspicious event, for not only is it the first production of the work in the 22-year history of the company, but the first “indigenous” Los Angeles Ring as well. Only stagings “imported” by the Met on tour and from San Francisco had been seen in the city previously. Thus excitement was high in the city, and it was heart warming to witness the acclaim brought to Rheingold.

The Ring, of course, has been “in” in America for several decades, so the LAO is merely falling in line. During the current year it will be seen in part in Washington and San Francisco and complete in Seattle. And the Met is about to retire its current production to make way for a new staging to begin next season. Nonetheless Rheingold remains a complex work made even more so by Achim Freyer, the director and designer of the entire LAO Ring.

It’s easy — if a bit tongue in cheek — to attribute the appeal of the Ring to the contemporary relevance of its plot: this god-guy Wotan builds a house that he cannot pay for and the whole world goes to Hell in a handbasket — or in the old-fashioned cartoonesque airplane, in which Freyer sends Wagner’s gods off to Walhalla at the end of Rheingold.

On the heels of so much on-stage color the rainbow bridge called for by Wagner, who wrote his own libretto, would have been at best a pale apparition. As the opera world moved away from the swords and shields traditional in Ring stagings obedient to Wagner, “concept” productions became de rigueur. Stagings that took cues from Marx and Freud were the center of controversy — especially in Germany, where French filmmaker Patrice Chéreau set new standards of adventure with the 1976 post-industrial Ring that marked the centennial of the work in Wagner’s own Bayreuth mecca.

In this country environmental Rings have decried Wotan’s destruction of the world oak to obtain wood for his spear. The troublesome military industrial complex even in Wagner! Thus the Ring is now open game, and the LAO promised “adventure” with its long-awaited staging.

Although Freyer may have given the company more than its audience bargained for in Rheingold, the enthusiastic opening-night reception has heightened the anticipation already awaiting completion of the cycle. But what has Feyer done to earn this reception? He has — as he sees it — offered not merely an interpretation of Rheingold. He has rather created a companion piece to the work — or even an anti-opera — designed both to realize Wagner’s own intentions and to place his audience at a critical distance from the Ring. To understand this, it helps to know a bit about the roots to which Feyer makes brief reference in a program-book essay.

rheingold_244.pngArnold Bezuyen (Loge)

At 74, the director is old enough to have cut his theatrical teeth in the Berlin Ensemble that was the laboratory of Bert Brecht, arguably the dramatic genius of the 20th century. Freyer makes reference to Brecht’s “alienation theory” that encourages the spectator “to decide creatively which truths are contained in the exemplary strange figures and worlds [of Wagner] for himself.” Although Brecht lived for some time just down the road from the Chandler in Santa Monica, that was long ago, and a modicum of information about his alienation theory is called for.

Brecht spoke of traditional theater as “culinary” — you enjoyed the show — and forgot about it. His “epic” theater — the term stresses the narrative drive of the concept — was didactic and open ended. Conclusions were left to the audience. “That’s not a good ending,” Brecht writes at the end of The Good Woman. There has to be a better one — there just has to be!” His audience left the theater with homework in hand.

So is that what enthralled the Los Angeles audience on February 21. Hardly — or, at best, only in part. Freyer — about that there is no doubt — is talented man with an impressive grasp of the theater, and an audience could not but be impressed by a scrim that ran red with blood following Fafner‘s murder of brother giant Fasolt.

It was a thrill a minute through the 2.45 intermission less minutes of Rheingold. The audience was kept busy watching, but did they have time for the requisite thinking? Moreover, there are many fine touches in this Rheingold, such as the huge eyeball that glows downstage, recalling that Wotan sacrificed an eye to win Fricka.

Central to Freyer’s entire staging is a raked disc that one might see as an act of homage to Wieland Wagner’s first post-war Bayreuth Ring, the production that liberated the work by cleansing it of the traditional trappings that had made Wagner the court composer of National Socialism.

But while Wieland brought to his grandfather’s works the “noble simplicity and calm grandeur” that Winckelmann in the 18th century saw as the essence of classicism, Freyer weighs Wagner down under a hopeless tons of clutter. The singers are for the most part encased in larger-than-life replicas of themselves, from which they occasional step forth. At one point Wotan sings from the belly of the enlarged figure as if he were a Tellatubby.

Freyer keeps his audience guessing, but does the quest for answers only obscure whatever message he is attempting to convey? Clearly, however, this is a Ring in progress, and much will happen to it before it is completed. It is a welcome Ring that will make its mark. But for the moment one can only say: “Stay tuned!”

Whatever one thinks of Freyer’s staging, there is little room for argument about the excellence of the cast that the LAO has assembled for the Ring. In his role debut young Ukrainian Vitalij Kowaljow is clearly a Wotan of tomorrow, and Michelle DeYoung, the world’s reigning Brangäne, was a wonderfully feminine Fricka, happily without the markings of the shrew that many expect from Wotan’s often-betrayed wife.

Gordon Hawkins was everything selfish and distasteful that Alberich must be while acquitting himself admirably as a vocalist. Singing, however, from within a huge mask — as did Graham Clark as his brother Mime — he left listeners missing the facial expression so important a part of singing.

Jill Grove delivered Era’s words of warning with motherly concern, and Holland’s Arnold Bezuyen, every inch a flaming god of fire, won the hearts of the audience with his portrayal of four-handed Loge as a trickster god.

Stacey Tappan, Lauren McNeese and Beth Clayton were unusually attractive Rhinemaidens as they sang from billowing expanses of the blue cloth that was their river home.

As brother giants Fasold and Fafner Morris Robinson and veteran Eric Halfvarson sang magnificently, although clumsily equipped with mirrors to exaggerate the size of their faces.

Beau Gibson and Wayne Tigges as brother gods Froh and Donner and Ellie Dehn as their bartered bride sister Freia completed the large and admirable cast.

LAO music director James Conlon, who mastered Wagner during his years in Cologne and Paris, drew superb playing from the LAO orchestra, concealed somewhat in Bayreuth style by a fabric cover over the pit.


The Los Angeles Opera Ring des Nibelungen continues with Die Walküre set to open on April 4. Siegfried and Die Götterdämmerung follow during the 2009-2010 season. The entire city will join in celebrating the completion of the project with three complete cycles on stage in June 2010.

With a total budget of $32 million, the production is a project of monumental dimensions in these troubled times. Washington National Opera recently announced that due to a lack of funds it will complete its current staging with a concert performance of Götterdämmerung.

Placido Domingo, who sings Siegmund in Los Angeles, is general director of both companies.

For information and tickets on the LAO Ring, call 213-972-8001 or visit www.laopera.com.

Wes Blomster

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):