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.
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.
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.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
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.
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.
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.
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.
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.
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.
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.
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
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!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
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.