Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Works by Beethoven and Gerald Barry

As a whole, this concert proved a curious affair. It probably made more sense in the context of Thomas Adès’s series of Beethoven and Barry concerts with the Britten Sinfonia. The idea of a night off from the symphonic Beethoven to turn to chamber works was, in principle, a good one, but the sole Gerald Barry piece here seemed oddly out of place – and not in a productive, provocative way. Even the Beethoven pieces did not really seem to fit together especially well. A lovely performance of the op.16 Quintet nevertheless made the evening worthwhile.

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.

Voices of Revolution – Prokofiev, Exile and Return

Seven, they are Seven , op.30; Violin Concerto no.1 in D minor, op.19; Cantata for the Twentieth Anniverary of the October Revolution, op.74. David Butt Philip (tenor), Pekka Kuusisto (violin), Aidan Oliver (voice of Lenin, chorus director), Philharmonia Voices, Crouch End Festival Chorus, Students of the Royal Welsh College of Music and Drama (military band), Philharmonia Orchestra/Vladimir Ashkenazy (conductor). Royal Festival Hall, London, Sunday 20 May 2018.

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.

No Time in Eternity: Iestyn Davies discusses Purcell and Nyman

Revolution, repetition, rhetoric. On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall.

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection.

Glyndebourne Festival Opera 2018 opens with Annilese Miskimmon's Madama Butterfly

As the bells rang with romance from the tower of St George’s Chapel, Windsor, the rolling downs of Sussex - which had just acquired a new Duke - echoed with the strains of a rather more bitter-sweet cross-cultural love affair. Glyndebourne Festival Opera’s 2018 season opened with Annilese Miskimmon’s production of Madama Butterfly, first seen during the 2016 Glyndebourne tour and now making its first visit to the main house.

Remembering Debussy

This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls. But, the madeleine didn’t quite work its magic on this occasion.

Garsington's Douglas Boyd on Strauss and Skating Rinks

‘On August 3, 1941, the day that Capriccio was finished, 682 Jews were killed in Chernovtsy, Romania; 1,500 in Jelgava, Latvia; and several hundred in Stanisławów, Ukraine. On October 28, 1942, the day of the opera’s premiere in Munich, the first convoy of Jews from Theresienstadt arrived at Auschwitz-Birkenau, and 90 percent of them went to the gas chamber.’

A chiaroscuro Orfeo from Iestyn Davies and La Nuova Musica

‘I sought to restrict the music to its true purpose of serving to give expression to the poetry and to strengthen the dramatic situations, without interrupting the action or hampering it with unnecessary and superfluous ornamentations. […] I believed further that I should devote my greatest effort to seeking to achieve a noble simplicity; and I have avoided parading difficulties at the expense of clarity.’

Lessons in Love and Violence: powerful musical utterances but perplexing dramatic motivations

‘What a thrill -/ My thumb instead of an onion. The top quite gone/ Except for a sort of hinge/ Of skin,/ A flap like a hat,/ Dead white. Then that red plush.’ Those who imagined that Sylvia Plath (‘Cut’, 1962) had achieved unassailable aesthetic peaks in fusing pain - mental and physical - with beauty, might think again after seeing and hearing this, the third, collaboration between composer George Benjamin and dramatist/librettist Martin Crimp: Lessons in Love and Violence.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Les Salons de Pauline Viardot: Sabine Devieilhe at Wigmore Hall

Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. Her first appearance at Wigmore Hall was last month’s performance of works by Handel with Emmanuelle Haïm’s Le Concert d’Astrée. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot (1821-1910), was her solo debut at the venue.

Jesus Christ Superstar at Lyric Opera of Chicago

Lyric Opera of Chicago is now featuring as its spring musical Jesus Christ Superstar with music and lyrics by Andrew Lloyd Webber and Tim Rice. The production originated with the Regent’s Park Theatre, London with additional scenery by Bay Productions, U.K. and Commercial Silk International.

Persephone glows with life in Seattle

As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. Without her talent, determination, and vast wealth, Ravel’s Boléro, Debussy’s Martyrdom of St. Sebastien, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Perséphone would not exist.

La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

One trusts the banquet following the world premiere of La concordia de’ pianeti proffered some spicy flavors, because Pietro Pariati’s text is so cloying it causes violent stomach-churning. In contrast, Antonio Caldara’s music sparkles and dances like a blaze of crystal chandeliers.

Kathleen Ferrier Awards Final 2018

The 63rd Competition for the Kathleen Ferrier Awards 2018 was an unusually ‘home-grown’ affair. Last year’s Final had brought together singers from the UK, the Commonwealth, Europe, the US and beyond, but the six young singers assembled at Wigmore Hall on Friday evening all originated from the UK.

Affecting and Effective Traviata in San Jose

Opera San Jose capped its consistently enjoyable, artistically accomplished 2017-2018 season with a dramatically thoughtful, musically sound rendition of Verdi’s immortal La traviata.

Brahms Liederabend

At his best, Matthias Goerne does serious (ernst) at least as well as anyone else. He may not be everyone’s first choice as Papageno, although what he brings to the role is compelling indeed, quite different from the blithe clowning of some, arguably much closer to its fundamental sadness. (Is that not, after all, what clowns are about?) Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs?

OPERA TODAY ARCHIVES »

Reviews

Eva-Maria Westbroek and Joseph Kaiser [Photo by W. Hoesl courtesy of the Bavarian State Opera]
22 Apr 2009

Jenůfa at the Bavarian State Opera

The Bavarian State Opera’s new production of Leos Janacek’s Jenufa is a feather in the cap of intendant Nikolaus Bachler.

Leoš Janáček: Jenůfa

Die alte Buryja: Helga Dernesch; Laca Klemen: Stefan Margita; Stewa Buryja: Joseph Kaiser; Die Küsterin Buryja: Deborah Polaski; Jenufa: Eva-Maria Westbroek; Altgesell: Christian Rieger; Dorfrichter: Christoph Stephinger; Frau des Dorfrichters: Heike Grötzinger; Karolka: Elena Tsallagova; Eine Magd: Anaïk Morel; Barena: Tara Erraught; Jano: Laura Nicorescu; 1. Stimme: Mirela Bunoaica; 2. Stimme: Todd Boyce. Musikalische Leitung: Kirill Petrenko. Inszenierung: Barbara Frey. Bühne: Bettina Meyer.

Above: Eva-Maria Westbroek and Joseph Kaiser

All photos by W. Hoesl courtesy of the Bavarian State Opera

 

It opened April 8 at Munich’s Nationaltheater as part of his second season as director. His program presents a mix of both traditional productions and concept-driven, edgy regietheater repertory. But “traditional” does not mean “old-school.”

Formerly director of Vienna’s famed Bergtheater, Bachler was aware of stage director Barbara Frey’s work and his invitation for her to stage Jenufa, her first opera, was a gamble that paid off. She took the story of lost love and infanticide to heart and her taut reading makes the story both searing drama and epic tragedy.

Based on a story, Jeji Pastorkyuna (Her Stepdaughter), by Gabriellla Preissova, it is a relatively early opera by Janacek but marks him emphatically as a master of musical drama and is now performed regularly on the world’s major opera stages. It is the story of a young girl, who gives her name to the opera, and her love affair with the town dandy, Steva. Pregnant with his child, she bears the child in secret while he sows his oats and avoids entanglements. Her high-strung, widowed step-mother, Kostenicka, increasingly unhinged, drowns the baby, which is later discovered by the townspeople. Jenufa is immediately accused but Kostenicka confesses and Jenufa goes through with her marriage to the hapless but devoted Laca.

The setting, an open house on stakes, was designed by Bettina Meyer, and served to concentrate the tension of this dangerously dysfunctional family drama. The crowds who appear outside with the discovery of the body of the love child in the lake, scramble over the forbidding rocks in this desolate landscape. Staging, costumes and lighting all contribute to the sense of desolation which permeates this drama. Slightly updated - wind turbine towers are in the background and a cheap TV is on the table - the small town claustrophobia is easily understood by contemporary audiences.

Bachler was generous with the assembled voices to bring this off. The blazing work of soprano Eva-Maria Westbroek has generated much press recently and, in the title role, her desperate love for a feckless young man, Steva, could not be more heart-wrenching. Gifted with one of the most passionate and powerful voices of today, her anguish was palpable.

There was a sure chemistry between her and her step-sister, Kostenicka, played to perfection by the veteran soprano Deborah Polaski. Watching these two professionals relate was the high-point of the evening. Canadian Joseph Kaiser, with a clear, expressive tenor, was convincing as young Steva. Tenor Stefan Margita, has made his disturbing, complex reading of Laca a simply indispensable part of this opera. It was a quartet of talent that created an intensity rarely experienced on the opera stage. The secondary characters, all excellent, including opera legend Helga Dernesch, now 70, as the grandmother. Sometimes wayward of tone, her character was theatrically on target.

Jenufa_Munich01.gifEva-Maria Westbroek and Deborah Polaski

It was a fine night also for Kirill Petrenko who lead the opera orchestra and chorus with a vivid sense of musical expression. His career is taking off in the last few years with major appearances in the pit at New York, Paris, Vienna and London and his galvanizing leadership contributed to the seamless night of high-voltage music making.

The opera is playing now at the Bavarian State Opera’s National Theater through April 27 and will be seen again as part of the Munich Opera Festival on July 9. Information, with pages in English, is at http://www.bayerische.staatsoper.de/.

Frank Cadenhead

Jenufa_Munich03.gifScene from Jenůfa

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):