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Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
07 Apr 2009
Humperdinck: Hänsel und Gretel
Originally directed by Brooks Riley for German television, this updated staging of Engelbert Humperdinck’s familiar opera Hänsel und Gretel is based on a production created by Johannes Felsenstein, the son of the well-known director of the Komische Oper Berlin, Walter Felsenstein.
Drawing on the tradition of his father for innovative productions, Johannes Felsenstein has created a memorable staging of Hänsel und Gretel, which uses historic footage from the 1930s containing images of hungry children in breadlines and other, similar impoverished situations, to set the tone. The footage fades into the opening scene, which takes its graphic cues from that period for the costumes and decor. Not set in some undefined, romanticized period of German peasant life, this modern setting of Hänsel und Gretel provides tangible visual cues to establish the sense of poverty which is essential to understanding some aspects of the plot. The comments of Suzanne Schultz, the principal dramatic adviser of the Anhaltisches Theater Dessay found in her essay about the opera in the booklet that accompanies the DVD are particularly relevant in this regard:
The memories of one’s own childhood conjured up by the music is, at the same time, an encounter with a cultural past. By returning to archetypes and reviving our cultural inheritance, the opera not only pinpoints the ambience and problems of its own time. It also throws up questions that go far beyond the twentieth century and remain highly charged issues even today. Hänsel und Gretel is a work that inspires us to approach with a sense of remembrance and reflection with a conscience and a view to the past, those who are weakest and whose burden is greatest in times of hardship - the world’s children.
To this end Felsenstein also uses film later in his production, such as when the father describes the witch, with images of tanks from the Second World War and short battle scenes create a different effect than intended when placed in the context of this opera. In this context, the images imply that Hitler is the witch, which also suggests that the witch is more powerful than depicted in Bechstein’s fairytale, thus contributing some eerie connotations to the line about the witch throwing children into ovens, a connection that Humperdinck could not have imagined in his conception of the opera. Similarly, the idea of hunting the witch becomes even starker when the caricature of Uncle Sam coincides with the father’s statement to his wife that it’s important for both of them to seek out the witch (“Wir wollen ja beide zum Hexenritt”). This staging contributes an element of surrealism to the story and makes this staging into something more than a fairytale, especially with the images of riots and firebombed cities during the prelude to the second act. Still unseen at this point, the witch for this production is much more powerful than found in other, more conventional settings of Hänsel und Gretel. At the same time, it also sets off the childish behavior of the children, unaware of the dangerous world all around them. While the staging involves anachronisms that detract from a sense of authenticity, as do some of the attempts at realism, like the depiction of the father’s drunkenness.
The conclusion, when the other children the witch enchanted are returned to life is effective stagecraft for the opera house. Presented on video, though, it loses something in the visual translation, since the camera must move into the audience and blur the scenic world confined to this point on the stage, and shift to focus in the theater. The blue-toned images of the children approaching the proscenium from the theater call attention to the spatial differences, which are further accentuated by the shot of the conducting leading the children’s chorus. Yet the ending of the scene works well, with the children depicted as working their own magic on Hänsel and Gretel, which leads well into the final chorus and the conclusion of the opera.
This production of Hänsel und Gretel is also of interest because it is based on the new critical edition of the score by Hans-Josef Irmen and published by Schott. As familiar as this score is to many audiences, it is useful to have a performance based on the recently vetted edition, which lends authority to this already fine reading of the score. That stated, it is difficult to account for the decision of having the singer who portrays the father to take on the role of the witch. While this makes sense in the context of the production, which has the parents looking on as the children awaken, and then tease the children by singing the witch’s famous line about who is nibbling at her gingerbread house. From that point the father dons the kerchief (presumably of the mother) to carry out the scene with the witch. In this sense, the fantasy is part of make-believe in the home, and not part of the fairytale world found in the story as rendered by Bechstein or the Grimm Brothers. As stagecraft, this works, but in terms of the musical score Ludmil Kuntschew has used a head voice in various passages. Traditionally the role is sung by a tenor or, in some houses, the soprano who plays the mother, so the choice of the baritone here departs from practice.
The two women who portray the children, Hänsel by Sabine Noack and Gretel by Cornelia Marschall, are quite effective in their portrayals of the two characters. In addition to their fine command of the music, they evoke the children physically in their interactions with each other. Even in the comparatively plainer setting of the children’s passage through the forest, the reactions of Marchall as Gretel give a sense of elements she alone can see, and thus play upon the attentive viewer. Noack has captured the mannerisms of the boy Hänsel nicely, and at times it is difficult to imagine that she is playing a boy. As their parents, Kuntschew is convincing as the father, and Alexandra Petersamer delivers the role of the mother well.
All in all, though, this thought-provoking staging of Humperdinck’s Hänsel und Gretel brings into the work associations which attempt to intensify the dramatic situations. The anachronisms from the Third Reich make this staging perhaps less accessible to younger audiences, who might be need some explanation of the newsreel footage that underscores some scenes. A regular part of the opera repertoire at many houses, since its premiere on 23 December 1893, Hänsel und Gretel retains its association with Yuletide celebrations, particularly in the final scenes, but this production contains allusions to other elements in German culture to set it apart from other, more conventional presentations. Yet enough traditional elements remain in the production to remind viewers of the associations of this work with Christmas, and some of the picturesque tableaux are visually effective, not only at the conclusion of the work, but also in the tender scene as the children fall asleep at the end of the second act, with the angels around them and the parents tucking the children into their beds. As strong as the visual dimension is in this production, the musical elements are well executed throughout, an aspect of opera that must be solidly in place to anchor any production.