06 Apr 2009
Nadja Michael as Salome and Tosca
Like Violetta Urmana, Nadja Michael had a substantial career as a mezzo before deciding to venture into soprano territory.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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 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.
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.
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.
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.
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.
‘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.
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?
Like Violetta Urmana, Nadja Michael had a substantial career as a mezzo before deciding to venture into soprano territory.
Urmana carries herself with a poise that recalls old-time diva self-possession, and her gorgeous instrument bears a similar glamour. Michael, however, possesses a vocal instrument as slender it its own way as she herself is - lithe, even muscular, but essentially smaller in scale. Two recent DVDs of Michael in iconic roles for soprano - Tosca and Salome - reveal an artist made to be seen as well as heard - a skilled singer, an attractive woman, but most of all, a riveting stage presence.
Staged at the 2007 Bregenz Festival on its famous lake-side stage, millions world-wide have now seen at least parts of this Tosca production, as it was featured (in a confusingly edited action sequence) in the recent James Bond movie Quantum of Solace. It turns out to be a fairly spectacular visual staging itself, even without Daniel Craig hopping around, capping people. As a line in the booklet essay forthrightly admits, “Philip Himmelmann’s production had to allow for the enormous dimensions of the” Bregenz stage. The gigantic eye that dominates the stage backdrop, essay writer Gerhard Perché suggests, represents an interpretation of Sardou’s melodrama that sees Scarpia as big brother. Maybe, but the eye, which overlooks the action but of course cannot intercede, might just as easily represent the deity that Scarpia claims to worship and to whom Tosca prays in vain (and Cavaradossi declares non-belief in).
At any rate, traditionalists won’t care for any aspect of the staging. Dress is contemporary, with Michael as Tosca so sexy in her red power suit in act one and more contemporary gown for act two. Gidon Saks sports formal wear, and then removes much of it for what is most likely the first strip tease staged during the Te deum. Only Zoran Todorovic spends the opera in fairly dull clothes, even bespattered with his own blood (a stunt double takes a stunning inert dive into the waters in the last moments). Although the physical production looks like no other Tosca throughout acts one and two, most of the stage action remains fairly true to the libretto; for example, Angelotti hides away in a nook/”chapel” where later Scarpia finds a fan and empty lunch basket.
Act three, however, finds Mario imprisoned in the pupil of the eye, a precarious position requiring a visible tether. When Tosca appears, she perches high above him, standing on some ledge behind the top of the “eye” backdrop. Surely director Himmelmann designed this for the audience at Bregenz, where it might have made an impact, reinforcing the delusion of the reunited couple’s hopes for freedom. But cameras and editing dilute any such intended effect. Similarly, the jolt of seeing dozens of other imprisoned victims of Scarpia rejoicing at the news of his death only partially compensates for the distraction from the opera’s proper climax, Tosca’s leap (a filmed sequence projected onto the pupil).
Nadja Michael and Gidon Saks make any quibbles irrelevant. Neither is vocally perfect: Michael can be shrieky in her top range, and Saks sounds hoarse for quite a while. The greater part of their singing does well by Puccini’s score, and their performances do even better by the libretto’s characters. Michael’s Tosca is passionate, flamboyant yet unneurotic, and very physical - one more reason why the third act staging could have been rethought. And though Saks doesn’t bring much that’s new to Scarpia, the modern dress helps to give a fresh spin to his portrayal of the voraciously sexual sadist. Todorovic, as with many another Cavaradossi, manages an affecting third act aria, but otherwise his coarse, rough tone will win few admirers.
Ulf Schirmer gets a powerhouse performance from the Wiener Symphoniker (as opposed to the more famous Philharmonic). Sound and picture are first class. Be advised, however, that the singers all wear unobtrusive but visible mikes, almost in earpiece form, as necessitated by the Bregenz acoustic.
A few months earlier Michael had been in Milan at La Scala for a Luc Bondy staging of Strauss’s Salome, with Falk Struckmann as Jochanaan. Conductor Daniel Harding goes for a hard-edged, tense reading, ignoring Strauss’s arguably disingenuous proclamation that his score should be treated as if it were by Mendelssohn. The result may not be subtle, but it is often exciting, which helps, since Bondy’s monochrome set and purposeless updating don’t produce much of that quality.
A huge crack runs through the foundation of an outer area of the palace, and Jochanaan has been tucked away somewhere in its depths. Plantation shutters form one wall, and on the other side, a stadium-width passage leads to the interior of the palace. Occasionally TV director Emanuele Garofalo films the action from behind the plantation shutters, presumably for a “voyeur” effect, but merely interrupting whatever dramatic flow is in progress.
Susanne Raschig’s costumes neither seem to be biblical nor clearly of one particular epoch, though some look vaguely late 19th century, such as those of the soldiers. Why she clothed Peter Bronder as Herodes in silky cargo pants and tunic never became clear to your reviewer. Bronder, shorter by a good foot than his imperious Herodias (Iris Vermillion), camps it up like the comic relief in an operetta, diluting the dark undercurrents of the story (whose surface is dark enough, agreed). Despite the fine work of the supporting cast, especially Matthias Klink’s painfully deluded Narraboth, the first hour of this Salome drags itself along clumsily. Only with Michael’s dance do sparks of life appear, though mostly due to her efforts; the choreography offers nothing new. Michael manages to make Salome’s contempt for her step-father clear while still projecting the raw sexuality the twisted man desires to see. Vocally, she seems to have saved just the right amount of power in reserve for the long final scene, and it is better singing overall than she manages as Tosca. The wiry nature of her instrument proves deceptive as it fills out nicely for the climaxes. After making some fitful attempts at innovation and reinterpretation, Bondy strangely goes for the “crushed between the shields” for Salome’s exit, final evidence that no cohesive thought lies behind the production.
Neither of these DVDs is likely to earn general approval, but for your reviewer, from start to finish the Tosca at least held his interest, on which the Salome had a weaker grasp. They both serve, however, as strong evidence that Nadja Michael is one of the more interesting sopranos working today.