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 Performances

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

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.

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!

OPERA TODAY ARCHIVES »

Performances

Petra Lang as Ortrud [Photo by Clive Barda courtesy of The Royal Opera]
29 Apr 2009

Lohengrin at The Royal Opera, London

I first saw this production in Manchester in 1981: I loved it then and love it now, despite the present hero’s un-Heldentenor qualities when compared to the glorious Peter Hoffman of yore.

Richard Wagner: Lohengrin

Herald: Boaz Daniel; Heinrich I: Kwangchul Youn; Friedrich von Telramund: Gerd Grochowski; Ortrud: Petra Lang; Elsa von Brabant: Edith Haller; Lohengrin: Johan Botha; Four nobles of Brabant: Haoyin Xue, Ji-Min Park, Kostas Smoriginas, Vuyani Mlinde; Four pages: Anne Osborne, Deborah Peake Jones, Amanda Floyd, Kate McCarney; Gottfried: Ishwar Maharaj. Conducted by Semyon Bychkov. The Royal Opera, Covent Garden, London, performance of April 27, 2009.

Above: Petra Lang as Ortrud

All photos by Clive Barda courtesy of The Royal Opera

 

There were a lot of first-night nerves around, unsurprisingly given that King Heinrich, Telramund, Elsa and the Herald were all house debutants, but they all showed great star quality to match that of the more experienced Ortrud and Lohengrin. Semyon Bychkov elicited some of the most polished and exquisite playing from the ROH orchestra that I have heard in a long time; overall this was a wonderful evening, a shining example of what the Royal Opera House is all about.

The shimmering strings of the overture, so delicately shaped and daringly leisured in tempo, were somewhat compromised for many in the audience by the noisy actions of some latecomers, but the conductor sailed on as if surrounded by total silence. An aside, but what can be done about the appalling manners of some of the (supposedly) ‘great and good?’ It wasn’t just the noise—just to add insult to injury, as Lohengrin launched into ‘In fernen Land’ a man leaned over his wife to ask their friend, not exactly sotto voce, ‘So, where shall we eat after the show, then?’ Presumably these were amongst those like the bejewelled crinkly lady whom I heard complain loudly that she ‘got offered so many free tickets here that I just can’t fit it all in.’

The production is now 32 years old, yet it still looks fresh and logical for the work, with those prostrate nuns and gilt-encrusted icons reminiscent not so much of tenth century Brabant but ‘Old Mother Russia,’ and the muted colour tones of white and grey subtly contrasted with the splashes of red and gold. Some might consider the presentation of the swan as a projected motif underwhelming, but to me it was just right, with the Knight’s entrance via the trapdoor still producing a frisson—and let’s face it, this solution avoids any possibility of having to enquire ‘Wann fährt der nächste Schwann?’

More than any other of Wagner’s operas, ‘Lohengrin’ is all about the singing, and here this production excels. Johan Botha does not possess the ideally heroic stage presence for the title part, nor would he be accurately described as a Heldentenor, yet his singing is always expressive, finely phrased and sensitively shaped. Lohengrin is a rarity amongst Wagner’s major tenor roles in that his music is far more often marked to be sung mezzo-forte rather than forte, and Botha offers a hero more in the lyrical mould of a Slezak than a belter, and his characterization is all the better for it. ‘Mein Lieber Schwann’ was achingly poignant, reminding me of Rosvaenge’s recording of it, and ‘In fernen Land’ was as affecting as it should be, the gentle pressure on ‘Taube’ and the heroic strength of ‘Sein Ritter ich’ parts of a seamlessly dramatic whole.

LOHENGRIN-090424_0379.gifJohan Botha as Lohengrin and Edith Haller as Elsa

His Elsa was the beautiful South-Tyrol soprano Edith Haller, in a house debut performance which revealed a sweet, bell-like purity of tone, with the capacity to melt one’s heart in phrases like ‘Es gibt ein Glück, das ohne Reu’—‘Einsam in trüben Tagen’ was also a model of clarity and touching sweetness. At present, however, her voice is ‘merely’ lovely and crystalline, lacking in some colour and variety, and she found the last act a challenge in parts. Nevertheless, a notable debut from a soprano whom we will look forward to hearing in many other rôles.

Petra Lang’s Ortrud is a known quantity, yet she never ceases to surprise with the vehemence and commitment of her acting and the commanding quality of her singing. You half expect her to utter remarks like ‘Come, you spirits that tend on mortal thoughts. Unsex me here!’ as she launches into one of her tirades, and I can’t recall having experienced quite so marked a shiver down the spine by anyone else’s singing of the phrase ‘der Rache süsse Wonne’ or quite so definite a frisson during her ‘Entweitert Götter.’ Her husband was the fascinating baritone Gerd Grochowski, who looks a bit too noble for the weak Telramund, but whose singing, firmly in the Fischer-Dieskau mould, was supple and expressive. Indeed, there were times when one felt more sympathy for him than one probably should.

LOHENGRIN-090424_0421.gifScene from Lohengrin

Two more house debutants gave impressive performances of the rôles of Heinrich I and the Herald. This was the first time I’ve heard the Korean bass Kwangchul Youn, whose sound may lack a little in volume but whose expressiveness and dignity were a joy—he may have missed a little of the king’s grandeur here and there, but he more than made up for it with the Prayer, with genuinely noble heft at ‘weil unsere Weisheit Einfalt ist.’ I look forward to hearing his Commendatore and Méphistophélès. Boaz Daniel’s Herald was another noble assumption, his proclamations of ‘Nun höret Mich’ true clarion calls.

The Chorus sounded a little underpowered at the beginning, but rose to great heights at ‘Wie fasst uns selig süsses Grauen!’ and ‘Wir steh’n zu dir.’ They were matched by orchestral playing of real majesty, the strings and trumpets especially covering themselves in glory. It’s now three years since Semyon Bychkov conducted here, and I hope it won’t be that long again before we experience his blend of absolute control and sympathetic support for singers.

A great evening—and mercifully delivered uncut, with further performances on May 3rd (matinee), 5th, 8th, 11th, 14th and 16th. It is an almost full house for each night, but there are a sprinkling of seats to be had as well as Day tickets—if you haven’t booked yet, you are strongly advised to do so now, to experience a ‘Lohengrin’ which comes as near to expressing what Wagner called ‘one of man’s earliest poetic ideals’ as I can imagine.

Melanie Eskenazi

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):