25 Jun 2009
SCHUBERT: Alfonso und Estrella
What is the worst opera with the best music?
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on Friday night was the latest in the Coliseum’s recent run of new and co-produced productions, and also renowned director Peter Jones’ latest foray into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the same arts festival in Coventry for which Britten’s War Requiem was written and in fact the two works have something in common, dealing with the issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s Die Fledermaus several debuts are notable to both American and Chicago audiences.
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera House risks laying the house’s Director of Opera open to charges of antiquated mores and misogyny: for he seems to suggest that the women are just as bad, if not worse, than their seducer — and that a soulful man who seeks genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
What is the worst opera with the best music?
Some might vote for Bizet’s Les Pecheurs de Perles, which has tunes so magnificent that they help to mitigate against a hopeless libretto, enticing companies to stage the opera from time to time. A somewhat more obscure candidate could be Howard Hanson’s Merry Mount - the suite from which sweetens the playlist of many a classical radio station. Naxos has released both the original Metropolitan Opera broadcast from the 1930s, in very poor sound, and a more recent concert recording, with Gerald Schwartz conducting. In both, the music engages while the drama distracts.
Now Naxos’s series of operas on DVD presents another possibility for that lamentable title: Franz Schubert’s Alfonso und Estrella, composed to a libretto by Franz von Schober. The score can’t be said to boast any of Schubert’s immortal melodies, but it has some fine ones nonetheless. Arias, duets, trios, ensembles - the score may be a crazy quilt of “pieces,” but each in itself is tuneful and evocative. Nikolaus Harnoncourt is not always the most stylish of conductors, but he has a flair for Schubert, especially the dramatic minor-key passages, as well as the more rhythmically exciting passages. He leads the Chamber Orchestra of Europe in an excellent performance.
The singers get caught in the middle, with such fine music to sing and such dopey drama to enact. Director Jürgen Flimm gives the drama every opportunity to succeed. On Erich Wonder’s dark, atmospheric set, the singers move about as if actually motivated by recognizable human emotions. But the story is simply too thin and predictable. An exiled king worries over his noble son, who is in love with a woman who just happens to be the daughter of the man that deposed her lover’s father. It all ends in a sanctimonious bout of forgiveness and redemption, vaguely recalling Beethoven’s Fidelio. A clumsy translation doesn’t help matters for the non-German speaker. One example will serve: “Monster! Ha, avaunt!” Avaunt to be alone.
Recorded in 1997 at the Vienna Festival, the singers are all in fine, fresh voice. Made up as an old man, Thomas Hampson lays on the “feebleness” a bit much, but his voice is strong. Olaf Bär sings the “bad” king without letting his nefariousness mar the musical line. As the young lovers, Luba Orgonasova and Endrik Wottrich are attractive both vocally and personally.
Once seen, viewers may not be interested in returning to Alfonso und Estrella as a music drama. However, such are the pleasures of its score that this DVD is well worth considering, if no other opportunity can be found for enjoying its music.