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

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

Gordon Hawkins (Alberich) [Photo by Monika Rittershaus courtesy of Los Angeles Opera]<
15 Mar 2009

Wagner’s Das Rheingold at Los Angeles Opera

There is some slim irony to an opera company pursuing the complicated business of staging Richard Wagner’s Der Ring des Nibelungen in the current economy — it entails the very sort of dubious compromises that get Wotan and crew into such hot water (if one assumes the cataclysmic fire at the end of Götterdämmerung heated the Rhine).

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: Gordon Hawkins (Alberich) [Photo by Monika Rittershaus courtesy of Los Angeles Opera]

 

Placido Domingo’s east coast company, Washington National Opera, has postponed the Ring cycle it had already begun. On the west coast, Domingo’s Los Angeles Opera forges ahead, although next season will see the shortest season of subscription productions ever for the company — just 6. Three full rounds of the Ring cycle will end that season.

Seen on Sunday, March 8th, the Das Rheingold designed and directed by Achim Freyer reinforces the boldness of the company’s venture. Freyer’s style is much more about design and “performance art” than conventional narrative, which even a non-traditional staging such as Cherau’s at Bayreuth keeps as a foundation. When Freyer brought his staging of Bach’s Mass in b minor to the Dorothy Chandler some years ago, the audience strongly disapproved of the stylized pantomime of mummy-like figures, played out behind a scrim. However, a couple of seasons later Freyer came back to present Berlioz’s La Damnation du Faust, in a colorful, energized production that could fairly be called a hit.

The best sections of Freyer’s Rheingold shared some of the positive characteristics of that Berlioz, but there were worrying passages that recalled the distancing, overly clever worst of the Bach affair. Freyer seems most inspired by the outsiders to Valhalla. Loge is the only character who doesn’t either wear a mask or spend most of the performance hiding behind a fabrication of some sort. In fact, throughout most of the performance Wotan appears suspended in a box-like representation of his royal self seated on a throne, with only Vitalij Kowaljow’s face visible (and occasionally his hands). Alberich and Mime wear oversized face masks, which appear much more substantial than they are revealed to be when the singers doffed them at curtain. The design manages to brilliantly capture the troll-like nature of the Nibelungen and still allow the singers to project as if unencumbered. Freyer cleverly suggests the height disadvantage of these characters with an effect of huge platform shoes. The giants Fasolt and Fafner, on the other hand, appear both in the form of the singers, who sometimes raise huge magnifying glasses to their faces, and as oversized doubles — but only doubles of their construction helmets and their huge hands, when they reach out for Freia. Doubles fascinate Freyer; even the Rhine maidens have mirror-image doubles, waving their arms like synchronized swimmers, perhaps as water reflections would.

On Sunday the opening scene never quite pulled together, as Freyer doesn’t permit Alberich to interact with the Rhinemaidens who are, after all, trapped upstage in a huge billowing cloth. When we meet the future Valhallans, they are spread around the circumference of a center platform, and they hardly move from those initial positions. Freyer’s design here strongly suggests he sees Wotan and family as stiff, flat characters, who imagine themselves masters of their destiny but who are actually acted upon. The result was dry and uninvolving, prompting some worries about the later installments of the Ring, which focus on these characters and Wotan’s offspring.

However, it is not unusual for Das Rheingold to be dominated by its Loge, and such is the case here. Arnold Bezuyen actually got to move, in fact, to hop and gambol and even, with the help of some more doubling (and tripling), glide across the stage. Bezuyen has a great voice for Loge, lean yet muscular, and from the time he hit the stage the production came to life. Then Freyer’s magic started to work, as the lower half of the circular platform rose to reveal Alberich’s mines, and Graham Clark appeared as Mime. Such is Clark’s irrepressible stage presence that even behind a huge mask he created a character within seconds. For once, the cartoonish stage effects as Alberich turns himself into a snake and then a frog conveyed a sense of the ring’s power, and the imaginative stroke of having the magical helmet be a golden top hat really paid off when a tiny version appeared on Alberich transformed as a toad.

Freyer’s lighting effects (designed with Brian Gale) did allow for a suggestion of a rainbow bridge, but Valhalla never appeared as more than a sort of floating castle turret. The Rhine reappeared as a blood-red stream at the end, a probable foreshadowing of the carnage to come.

The Rhinemaidens were sung with liquid (forgive me) purity by Stacy Tappan, Lauren McNeese and Beth Clayton. Gordon Hawkins seemed a bit stifled by the staging of the first scene, but he was very impressive once he’d acquired the Rhinegold. Judgment will have to be reserved on the Wotan of Vitalij Kowaljow — the voice is sonorous enough, but it would take a singer of rare charisma to create a character when he spends most of the opera as a face sticking out of a hole in a cardboard facade. Michelle de Young interacts with her consort from across the stage, her movement restricted to a few waves of her oversized arms. Jill Grove’s Erda also sported an extra set — or two — of lengthy limbs. If the staging restricted the creation of characters, it seemed to concentrate both Grove and de Young’s vocal energy, and they both sounded great. Morris Robinson and Eric Halfvarson, as Fasolt and Fafner respectively, almost matched Bezuyen’s Loge for strong singing matched with memorable characterization. In their brief moments, Beau Gibson’s Froh, Wayne Tiggs’s Donner and Ellie Dehn’s Freia all made impressive contributions.

Los Angeles Opera covered the pit for this performance, and of course without the appearance of James Conlon at the dimming of the lights, many in the audience had to be shushed into silence as the low rumble of the first chord seeped out. The sound was surprisingly warm and detailed under the circumstances. Conlon supported the singers, while allowing the orchestra to ramp it up for the descent to the realm of the Nibelungen and the approach to Valhalla. At curtain most of the cast ran on and off stage fairly quickly, but Conlon took a diva-like bow, bathing in the adulation of the besotted LAO audience. Wonderfully, a camera then panned over the LAO orchestra, projected onto the scrim. That’s an innovation worth adopting on a routine basis.

Freyer’s artistry is dynamic and thought-provoking. However, much of the Ring is good old-fashioned story-telling. To what extent Freyer’s style and Wagner’s creation actually work together will perhaps be revealed in the upcoming Das Walküre.

Chris Mullins

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):