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.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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.