14 Jun 2009
Berlin: City of Three Operas
Where else in the world does one have three opera houses, all playing almost nightly for 10 months of the year? It’s one of the things that makes Berlin paradise for opera buffs.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Where else in the world does one have three opera houses, all playing almost nightly for 10 months of the year? It’s one of the things that makes Berlin paradise for opera buffs.
It was, for example, an ordinary Monday late in the season at Berlin’s Staatsoper. On stage was an Elektra new two years ago. Even with Deborah Polaski in the title role one expected at most a solid but routine performance. How wrong one can be!
This, it turned out, was an Elektra light years beyond the highest expectations that one might have — or have had, in every way: cast, orchestra. conductor and production team made this an evening that packed an unprecedented wallop — even for someone with 60 years of Elektras behind him.
Elektra has long been Polaski’s favorite and signature role. She first sang it, one reads, in 1984 on her 35th birthday. Since then she’s been on stage in the work — sometimes in concert — over 300 times.
And on May 25 it was, of course, Polaski who made the Staatsoper Elektra a soul-shattering experience. She’s a tall, well proportioned woman of infinite energy. Even after 100 minutes singing at emotional extremes almost without a break, there was no sign of fatigue.
Jane Henschel as Klytemnästra [Photo by Clive Barda for Royal Opera House]
The audience was near collapse from the wrenching performance, but Polaski — exuberant in relishing the murder of mother Klytemnästra and step-father Aegisth — seemed capable of singing the entire opera again.
Polaski speaks of herself as a member of a functional family who thus has special insights into the dysfunctional household of these mythic Greeks.
In a recent interview she stressed that we know nothing of these characters earlier in their lives. Elektra, for example, might have once had a tender and loving mother in Klytemnästra and even in their heated confrontation in the opera might long again for such warmth.
It the kind of thinking that accounts for the intense profundity of Polaski’s portrayal. Great as she was on this evening, however, Polaski was almost upstaged by American mezzo Jane Henschel who took the tormented Klytemnästra through successive stages of despair, anxiety and dementia.
In the States, Henschel’s departure from the stage in hysterical laughter would have evoked wild applause, and even in Berlin one felt that the staid German audience was fighting the temptation to acclaim the singer‘s achievement.
Anne Schwanewilms was an unusually virginal sister Chrysothemis, and ageing Reiner Goldberg an impressive Aegisth.
In supporting roles, however, it was young German bass-baritone Hanno Müller-Brachmann who was a third star of the evening. He portrayed brother Orest as a totally autonomous individual who arrives with the single purpose of double murder and walks towards it essentially unperturbed by the fate of his sister. This, in turn, left Elektra doubly pathetic as she realized that she had failed to give him the axe that had killed father Agamemnon and that she had consecrated as the weapon of revenge. Director Dieter Dorn focused perceptive attention both on music and text and eschewed all theatrical trappings. And conductor Michael Boder made clear that the Staatskapelle, recently returned from its 10-concert New York Mahler cycle, is one of the world’s great orchestras.
More than in any of his other operas it is in Tannhäuser that Richard Wagner drew a clear line between a good girl and a bad one. The eponymous knight hero wallows first in Venus’ cesspool of seething sexuality, while virginal Elizabeth pines in vain for his affection.
Nadja Michael as Venus
Yet the whore-virgin dichotomy does not hold — especially not when the two women are portrayed by a single singer, as was the case at the Deutsche Oper here on May 31. As Venus Germany’s Nadja Michael, famed elsewhere as a nude Salome, was a double for Lady Godiva. She was cloaked solely in copious knee-length blond locks, otherwise teasingly covering herself with a somewhat diaphanous white cloth. But as she moved toward transcendence as Elizabeth, Venus’ blond hair fell again from her head. But then it was only Elizabeth who had any understanding of Tannhäuser’s Act Two praise of sensuality to which his puritanical contemporaries responded with such horror.
The current DO production, new last January, did little to clarify matters. Director was Kirsten Harms, controversial general director — Intendantin — of the DO. Harms’ major mentors were the late Ruth Berghaus and Achim Freyer, mastermind of the current production of Wagner’s Ring des Nibelungen at Los Angeles Opera. (Both Berghaus and Freyer served apprenticeships in Bert Brecht’s Berlin Ensemble, where the concept of didactic theater was developed.) Harms’ production is a collage of brilliant — and original — ideas, but like so much of today’s Regieoper (a concept sometimes translated as “Eurotrash”) its many parts do not add up to a meaningful whole. And one can only marvel at a budget that makes such a staging possible.
Central to it was a stage that can be raised and lowered even with the company’s magnificent full chorus on it. Elizabeth’s “beloved hall” is peopled with a troop of armed men that bring to mind China’s terracotta warriors. It turns out, however, that they are mere props — tin Men of Oz, as it were — that then rise above the stage, where they remain suspended at various levels throughout the second and third acts. The pilgrims of Act Three, returning ill from Rome, are confined to a full stage of hospital beds, among which Elizabeth seeks her errant knight. (Did Harms perhaps have AIDS in mind?) Interesting, to be sure — but did it all throw new light on Tannhäuser? One rather had an image of Harms backstage — the kid in the toy shop — gleefully pushing buttons to raise and lower the stage. Happily, all this was offset by the musical excellence of the May 31 performance.
The chorus, the work of William Spaulding, is one of Berlin’s major musical glories and it brought new awareness to the immense role played by the ensemble in this work. And the chorus had its equal in the DO orchestra, conducted by French-born Philippe Auguin, who early in his career served as an assistant to Herbert von Karajan and Georg Solti.
Dietrich Henschel [Photo by Noelle]
Although Michael was mesmerizing in her double role, the evening was stolen vocally by Dietrich Henschel, a late replacement for an ailing Markus Brück. Germany’s Henschel, a baritone often viewed as the successor to Dietrich Fischer-Dieskau, brought a depth to Wolfram von Eschenbach that left one wondering why Elizabeth did not respond to his wooing rather than holding out for the redeemed Tannhäuser of husky, Colorado-born Scott MacAllister.
After two decades with several German companies MacAllister has only recently moved into the heroic Fach. His is at best an adequate voice, and in a production focused so sharply on the visual an unlikely lover. In addition to the splendor of his voice and his interpretation of Wolfram, Henschel is well remembered as Don Giovanni at Berlin’s Komische Oper a few seasons ago. He sang the first act of the Mozart opera clad largely in white Jockey’s.
A new production of Tales of Hoffmann at Berlin’s Komische Oper is always of special interest, for Walter Felsenstein, who founded the company in 1947, made the Offenbach work a signature piece.
Indeed, Felsenstein’s 1958 staging of Hoffmann was the sensation of the final pre-Wall seasons in this then-divided city, when art-oriented West Berliners had two items at the top of their wish-list — both of them in the East of the city: a ticket to the Berlin Ensemble, whose master Bert Brecht had died only in 1956, and one to Felsenstein‘s Hoffmann at the Komische Oper.
And although a half-century later that Hoffmann is vivid in the memory of those who saw it, others are today unaware of Felsenstein’s achievement not only in staging the opera, but in preparing an edition of it that gave the work the stature that it now enjoys in the international repertory.
For Offenbach died without leaving the world a definitive edition of this score that elevated him to a level above the operetta composer as which he was first famous. Yet there is no doubt much in the Hoffmann currently on stage at the KO that would cause Felsenstein to blush, for the East Germany that supported his theater so handsomely was a prudish society that would have winced at the open sexuality of Thilo Reinhardt’s production that was new two years ago.
Reinhardt moved Hoffmann to the present, staging all five act in a single setting by Paul Zoller that was easily transformed to accommodate the changing locales of the story.
True to Felsenstein’s concept of opera as music theater, the KO assembled a cast astonishing in its combination of physical appearance and vocal splendor. Best of the lot was Cornelia Götz, who played Olympia as a Marilyn-Monroe look-alike in blond wig and a heavy fur coat, under which she wore very little. Tatjana Gazdik was a mellow-voiced Antonia, while Karolina Gumos fell below the standard of her colleagues as Giulietta.
Andreas Conrad was a less-than-ideal Hoffmann, for his somewhat strident tenor was alien to the illusion-ridden Romantic that this figure is.
Nonetheless, the performance on May 30 was an evening of the high entertainment that confirmed the often-encountered opinion that the KO is the most adventurous and interesting of Berlin’s three opera houses.
Francois Xavier Roth conducted the superb KO orchestra with elan. Costumes were by Katharina Gault. (Newsreel footage of Felsenstein’s 1958 Hoffmann is available, by the way, in the 12-DVD documentation of the director’s work issued by ArtHaus a year ago.) [N.B. Click here for Opera Today’s review.]
A disquieting aspect of musical life in Berlin is the number of empty seats encountered at many events. At the May 31 performance of Tannhäuser at the Deutsche Oper, for example, the second balcony was half empty, and in the front rows of the orchestra dozens of seats went unsold.
At the Komische Oper, famous for its provocative stagings, empty seats abound despite the fact that it is by far the cheapest of Berlin’s three opera houses and that generous discounts prevail. Could this be in any way related to the fact that the KO still sings all operas in German?
And even a mostly-Wagner concert by Simon Rattle and the Berlin Philharmonic on May 28 was not sold out. This is especially sad for those who knew Berlin decades ago when there was never an empty seat anywhere. Indeed, many performances then were sold out by subscription at the outset of the season.
One hesitates to read the handwriting on the wall, for here too the audience is aging, and the interest in classical music among the young — although markedly stronger than in the States — is declining. Add to this the fact that Germany also is haunted by the world-wide financial crisis. One hears of budget cuts everywhere.
Yet behind all this looms a larger cause for alarm. It is still the vast amount of public money invested in them that makes Germany’s musical organizations unique — and great. How long will the taxpayer who never attends an opera be willing to continue such support?