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

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

La finta giardiniera, Glyndebourne

‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’

OPERA TODAY ARCHIVES »

Reviews

Enea e Didone (Marte e Venere); affresco romano da Pompei, Casa del Citarista
19 Apr 2009

Cavalli’s La Didone at St. Ann’s Warehouse, Brooklyn

Perhaps I’d better just describe what I experienced, Captain.

Francesco Cavalli: La Didone

Dido: Hai-Ting Chinn; Aeneas: John Young; Neptune, Jarbas, etc.: Andrew Nolen; Juno, Anna, Voice of Cupid, etc.: Kamala Sankaram; Ghost of Sychaeus: Hank Heijink. With Ari Flakos, Scott Shepherd, Kate Valk and Judson Williams. Conducted by Jennifer Griesbach. Staged by The Wooster Group at St. Ann’s Warehouse, DUMBO (Brooklyn).

Above: Enea e Didone (Marte e Venere); affresco romano da Pompei, Casa del Citarista

 

It wasn’t something I can summarize in the ways we were taught at the Space Academy. It was entirely outside the range of human experience in this department. The senses of “sight” and “hearing” don’t really cover the phenomena. Not all the phenomena.

There were monitors, Captain — monitors, everywhere! Two at the back of the stage showed a forgotten (well, I never head of it!) 1965 Italian sci-fi-horror flick dubbed into English, with cheap-o special effects and a predictable Twilight Zone-style switcheroo ending. And when I say they showed it on two monitors, I should mention that they had fixed it so one monitor showed it left-to-right, the other right-to-left (mirror images, you see), and they were side by side, so intimate scenes between two people seemed to involve four, and guys who were alone on the eerie planet seemed to have doppelgangers. Two other monitors near the front showed props that were seen, discussed, important to the story (swords, daggers, mirrors, anti-meteor colliders) but not actually present on the stage. When Queen Dido (did I mention her? Well, she was very much there, impersonated and sung by Hai-Ting Chinn, who has a lovely clear sexy soprano without that prissy baroque groove), overwhelmed with guilt, looked in a mirror, it was a monitor that showed her face decaying before our eyes (and, presumably, hers), that is: the mirror showed us what she was thinking!

In front of the monitors showing the movie (which was also performed by live actors), singers with genuine operatic voices (it was difficult to tell if they were enhanced or not — usually, I thought, not) performing Francesco Cavalli’s 1641 opera, La Didone. That’s right, Captain — arms and the man they sang. Aeneas, son of Venus, fleeing the destruction of Troy, crossed the seas on winds summoned by the vengeful goddess Juno (can immortal beings feel such wrath? — you tell me), to be shipwrecked near the city of Carthage, where he won the love of the widowed Queen Dido, aided her in a war against her rejected suitor, King Jarbas (driven mad by love), seduced her (with his brother Cupid’s help) during a wild boar hunt (shown), and then left for Italy, abandoning the poor lady (at Jove’s command, because fun’s fun but someone has to found the Roman Empire), whereupon Dido contemplates suicide. Happily (in this version, unlike Vergil’s, and Purcell’s, and Berlioz’s, with which you may be more familiar), the sword is only an image on a monitor, so Dido is rescued by King Jarbas, and they defy the Fates, the gods, the poets, and live happily ever after. (The ending of the background movie, Terrore nello spazio, or Planet of the Vampires, isn’t quite so happy, but it does tie in to the refugees-colonizing-the-locals theme.)

Stage right was a pit band — the usual suspects — keyboards, theorbo, accordion, electric ukulele, throbbing feedback that sometimes (especially when gods were singing — you know, Juno, Jove, Neptune — gods, goddammit!) threatened to drown out the music, but the gods all had microphones so in fact they could be heard through the jumble. Anyway who expects gods to be comprehensible? Even in outer space? And once, when Cupid took the form of Ascanius and sat in Dido’s lap, enabling him to wound her with the dart of love (for his brother Aeneas), an actor (Ari Flakos, who was also the starship captain) played the cherub while a soprano (Kamala Sankaram) sang his music in little-boy voice.

There were two sets of surtitles: one the text of the opera as it was being sung, the other the text of the movie as it was being spoken, looped, repeated, played with. The opera text, I’m glad to say, was sung “straight.” Sometimes singers spoke lines from the film (and even began to play characters in it); sometimes actors spoke lines from the opera (and even began to play characters in that). It was easy to keep the two sets of performers and the two sets of titles from getting mixed up, if you knew both stories. I mean, most of us read Vergil’s Aeniad in Space Cadet School, right? But who remembers that stupid movie? However, Forsan et haec olim meminisse iuvabit, as Mrs. Shaw, my old Flight Training Instructor, used to say.

Among the singers, the standout was certainly Hai-Ting Chinn in the title role — I also have fond memories of her Poppaea last summer at the Poisson Rouge (that asteroid we landed on in Greenwich Village, Captain). She has a curiously vibrato-less sound in a voice of great beauty, and she is a fine actress — I would like to hear what she can do without microphones and over a real orchestra. Tenor John Young made a worthy, sexy Aeneas and Andrew Nolen’s voice, difficult to appreciate when he sang basso deities through microphones, was also well deployed as a love-maddened countertenor Jarbas. (I know countertenors all have deeper voices when not singing, but I don’t think I’ve heard one use both voices to sing in the same performance before.) Kamala Sankaram has a character soprano, more tricky than attractive, but she can play the accordion too. Other performers included Scott Shepherd as an identity-wracked spaceman, Ari Flakos as the pensive captain, Hank Heijink (what a great name!) as the ghost of Dido’s husband, and the Wooster Group’s ever-deadpan first lady, Kate Valk, strolling in and out of jokes and genres with her usual grave laughter. Jennifer Griesbach appears to have been in charge of the musical side of things, and there was so much beauty in the score that the distractions only seemed to enhance it.

The experience was enjoyable on many different sensual planes, but — this sort of thing could get out of hand. These creatures — do we understand what their intentions are? They may be feeding on our inner, human craving for opera in ways scientists do not perfectly comprehend. If we do not take a firm stand, they may absorb us, control us, rewire us, detach us from our original natures, create a new sort of art-work of the future. This could be the look of opera in ages to come. This could be the end of music-drama as we know it.

Fact is, Captain — I’m afraid. Do you hear something — strange?

John Yohalem

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):