Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

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’.

Il barbiere di Siviglia in Pesaro

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 in Pesaro

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 Presents an Imaginative Carmen

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.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

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.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

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.

Janáček’s Glagolitic Mass, BBC Proms

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.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

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.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

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.

OPERA TODAY ARCHIVES »

Reviews

Judith Howarth as Madam Butterfly [Photo by Tristram Kenton courtesy of English National Opera]
21 Jun 2009

Madam Butterfly - English National Opera, London Coliseum

Following the death of the American film director Anthony Minghella, ENO were left with a gap in the season vacated by the new production which he had been engaged to direct, and what better way to do so than by bringing back his immensely popular 2005 staging of Madam Butterfly? Minghella’s widow, Carolyn Choa (who has worked on the production from its original conception) was charged with resurrecting the production in tribute.

Giacomo Puccini: Madam Butterfly

Cio-Cio San (Madam Butterfly): Judith Howarth; Pinkerton: Bryan Hymel; Sharpless: Brian Mulligan; Suzuki: Christine Rice; Goro: Michael Colvin; Yamadori: Richard Burkhard; Kate Pinkerton: Madeleine Shaw; Imperial Commissioner: Paul Napier-Burrows. English National Opera. Conductor: Edward Gardner. Original Director: Anthony Minghella. Revival Director: Carolyn Choa. Designer: Michael Levine. Lighting Designer: Peter Mumford. Costume Designer: Han Feng. Choreographer: Carolyn Choa. Puppetry: Blind Summit Theatre.

Judith Howarth as Madam Butterfly

Photos by Tristram Kenton courtesy of English National Opera

 

And a worthy tribute it is. This season’s cast is easily the strongest that Minghella’s staging has yet enjoyed here at the Coliseum (it’s a co-production with the Met, and the Lithuanian National Opera). Judith Howarth returned to the title role from the last revival, with a portrayal that has grown in stature since the last time. Her fullish lyric soprano remains a touch on the light side, but gives a real sense of being at one with the orchestra, and picks out the delicacy of the dialogues with Pinkerton and Suzuki; she draws the character with just the right balance of strength and vulnerability.

The two men, both appropriately imported from the USA, are new to both the production and the company; Brian Mulligan’s Sharpless is particularly worthy of praise, acting with skilled subtlety such that every inner thought came across. Bryan Hymel sings Pinkerton in a strong, clear tenor; if his phrasing is rather linear and matter-of-fact it only serves to add to the superficiality of the character.

In fact, the whole staging serves to highlight Pinkerton’s superficiality, or rather the superficiality which he ascribes to Nagasaki and its inhabitants. The drama unfolds in a world of heightened, fantastical colours, the vibrant hues of Han Feng’s costume designs contrasting with the shiny black letter-box of a set, evoking the curiously chaste exoticism which so fascinates Pinkerton. Two of Blind Summit Theatre’s brilliant bunraku puppets act as Suzuki’s co-servants, introduced by Goro in Act 1 while Pinkerton is cooing over the novelty value of his new marital home; it is quite clear before he even states it overtly that Cio-Cio-San stands no chance of being treated as a ‘real’ wife. The most fully characterised of the puppets is that used for Butterfly’s young son, the intricacy of its movements almost bringing the child to life - but retaining that layer of artificiality which underlines that even Sharpless to some extent doesn’t have a full understanding of the Japanese as human equals. The orchestral prelude to the final scene features a dream sequence in which a puppet Cio-Cio-San is reunited in a pas de deux with a human Pinkerton; a realisation of a deeply held wish on Butterfly’s part, but at the same time almost an acceptance on her part of his perception that the two belong to separate worlds.

Ultimately, this approach results in a degree of emotional frustration for the audience; somehow I want Pinkerton to be jolted too late into recognising Butterfly for the person she is. I yearn for a sudden gear-change into ugly realism at the end; for Butterfly’s suicide to be graphic and literal. Instead, the blood flowing from her body is unfurled in red silk by balletic extras. It all makes a consistent point; Pinkerton is going back to his convenient, socially-sanitised American existence, and perhaps he never will truly grasp the magnitude of what he has done to his first wife back in Nagasaki.

Madam_Butterfly__004.gifJudith Howarth as Madam Butterfly, Christine Rice as Suzuki and Bryan Hymel as F. B. Pinkerton

If there is a shortage of raw emotion on stage, there is an abundance of it in the pit. Edward Gardner, fresh from his revelatory Peter Grimes, gives a blazingly passionate account of the score, unequalled in my memory - and the chorus have rarely sounded better, either; the humming chorus was firm in intonation and ethereal of timbre. The supporting cast is exceptional, particularly Christine Rice’s Suzuki and Michael Colvin’s Goro.

Ruth Elleson © 2009

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):