Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

OPERA TODAY ARCHIVES »

Reviews

Jayne Casselman as Brünnhilde [Photo courtesy of Teatro La Fenice]
26 Jun 2009

Gőtterdämmerung in Venice and Kőln — Sex and Politics Behind the Berlin Wall

With Götterdämmerung, a co-production with the Köln Opera House created by Robert Carsen (stage direction), Patrick Kinmonth (sets and costumes) and Jeffrey Tate (conductor), La Fenice approaches completion of the Ring cycle.

Richard Wagner: Götterdämmerung

Siegfried: Stefan Vinke; Gunther: Gabriel Suovanen; Hagen: Gidon Saks; Alberich: Werner Van Mechelen; Brünnhilde: Jayne Casselman; Gutrune: Nicola Beller Carbone; Waltraute: Natascha Petrinsky; First Norn: Ceri Williams; Second Norn: Julie Mellor; Third Norn: Alexandra Wilson; Woglinde: Eva Oltiványi; Wellgunde: Stefanie Irányi; Flosshilde: Annette Jahns. Orchestra e Coro del Teatro La Fenice. Voxonus Choir. Jeffrey Tate, maestro concertatore e direttore. Robert Carsen, regia. Patrick Kinmonth, scene e costumi. Marcovalerio Marletta, maestro del Coro. Claudio Marino Moretti, maestro del Coro (Voxonus Choir).

Above: Jayne Casselman as Brünnhilde [Photos courtesy of Teatro La Fenice]

 

La Fenice’s Ring, however, will not be completed until next season because of complicated programming and budgeting considerations. Consequently, the prologue, Das Rheingold, will be seen in the lagoon after the downfall of the Gods and of the Gibichungs’ Kingdom. Moreover, although the Carsen-Kinmonth-Tate team remained unchanged, many cast changes were made at La Fenice along with a revamping of the sets to fit its smaller stage.

Chronologically, the Köln-La Fenice Ring is one of the first to be staged in the 21st century. Its concepts are similar to those of the “politically oriented” Rings that prevailed from the mid-70s to the mid-80s, especially in Europe. This first of these “politically oriented” Rings was the (nearly aborted) La Scala production created by Luca Ronconi (stage direction) and the Pierluigi Pizzi (sets and costumes) in 1974. The musical director, Wolfang Sawallisch, objected to proceeding beyond Die Walküre. The entire project was revived in Florence (with Zubin Mehta in the pit) in 1979-82. The most widely known of the “politically oriented” Rings was the Bayreuth “Centenary” production in 1976 entrusted to Patrice Chéreau and Pierre Boulez. After four years in the “Holy Hill”, it became a successful television serial that was also shown in regular movie houses. Now whilst only photographs remain of the Florence production, the Chéreau-Boulez Ring is available on DVD. It is fair to say that the saga lends itself to a political allegory of industrial and political power, of lust for money and for women, of Nazism’s rise and fall, a direction taken by Luchino Visconti in his 1971 blockbuster film.

In light of this context, there is something old fashioned in the La Fenice-Köln production. Nevertheless, the Ghibichung Kingdom is not Hitler’s Reich, but rather East Germany before the fall of the Berlin Wall. Red flags are flying about the Royal Palace. The “nomenklatura” are dressed in elegant attire of the '50s, accompanied by soldiers of the National Peoples’ Army. Siegfried, Brünnhilde and the Norns, on the other hand, are shabbily dressed. The Norns live in an attic filled with broken furniture from the 1930s and the 1940s (an allusion to the defunct bourgeoisie?).

Albeit attractive, the Rhinemaidens appear poverty-striken, swimming in a polluted Rhine. As in many of Carsen’s production, politics is mixed with a fair amount of sex. At daybreak, Brünnhilde begins her passionate love duet by performing oral sex upon Siegfried. Hagen makes love to Gutrune on Gunther’s royal desk (in the presence of her brother and King). In the wife-swapping scene at the end of the first act, Siegfried (disguised as Gunther) attempts to rape Brünnhilde before remembering his pact with the King. The second-act wedding party initially appears as an orgy with rivers of wine and spirits and ladies taking off their clothes.

Gotterdammerung_Fenice_03.gif

In a similar vein, the Rheinmaidens grope Siegfried all about his trousers. All of this heightens the coup-de-théâtre in the final scene. Brünnhilde is alone on stage during the holocaust, the fire of the Royal Palace, the downfall of the Gods and the flood of the river (cleansing corrupted Gods and corrupted men-in-power). During the concluding passages, a huge waterfall covers the stage. In short, although the concept goes back to the 70s, there are numerous innovations in this Ring and this Götterdämmerung in particular.

Gotterdammerung_Fenice_01.gif

Although British, Jeffrey Tate possesses an Italian or Austrian conducting style. He caresses the orchestra with gently slowing tempi. This clashes, however, with the dramatic action-oriented stage direction. La Fenice’s orchestra fares well; but it is not that of the Maggio Musicale Fiorentino (which performed Götterdämmerung a few weeks ago) or of the Berliner Philarmoniker (which will perform Götterdämmerung in Aix en Provence in early July). Jayne Casselman was simply excellent, both vocally and dramatically, as a vibrant Brünnhilde to be remembered for some time. Her Siegfried, Stefan Vinke, performed well in the taxing third act; but in the previous two acts he displayed vocal problems (especially with the Cs) and a host of technical difficulties. He paled against Lance Taylor who performed the role in the recent Florence production. A sexy Nicola Beller Carbone was a vocally imposing Gutrune. And, the youthful Gabriel Suovane and Gidon Saks were two well-rounded bass baritones, whom, I trust, we will hear often in the future.

Giuseppe Pennisi

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):