29 Jun 2009
Un ballo in maschera at Royal Opera House
On the whole, I’d prefer the conspirators to be sitting on toilets
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.
Peasants revolt in a sea of Maserati and Ferrari’s.
Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.
David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.
The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.
Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.
Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing
The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.
Vestiges of a momentous era . . .
There were hints that L’elisir is one of the great bel canto masterpieces.
Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.
Stage director Pierre Audi is not one to be strictly representational in his story telling.
For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.
Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.
Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.
Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.
Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
On the whole, I’d prefer the conspirators to be sitting on toilets
No, really, ENO’s ‘controversial’ production of 2002 may have jarred with traditionalists but in many ways it made better sense than this revival of Mario Martone’s 2005 production. Martone is also a film director (cue groans from those who hated Kiarostami’s ‘Così’) and the opera is conceived as a series of tableaux, from the staid to the spectacular, but without much in the way of personenregie. The original production could boast of Mattila, Hampson and Álvarez in the leading roles, but for this revival the ROH have cast a house debutant soprano, the Chilean Angela Marambio, the Slovakian baritone Dalibor Jenis, and Ramón Vargas, and of the three it is only the tenor who produces a genuinely Verdian sound.
Anna Christy as Oscar and Ramón Vargas as Riccardo
I have to declare a preference for the Danish setting, with the venial King Gustavus biting the dust at the ball — it simply makes more sense to me, all the ‘American’ references in the Boston version sounding daft to my ears, and exactly which Massachusetts ‘castello’ did Riccardo appropriate from his enemy? Of course I’m aware of all the censorship shenanigans, but the story is quite ludicrous enough without adding on any extras. He loves her, but he has preserved her honour? Oh please. Renato entirely fails to recognize his own wife just because she dons a veil? Give me a break. These absurdities can of course be negated in a production which focuses on gripping the emotions and making sense of the politics, but this wasn’t it.
Dalibor Jenis as Renato
Ramón Vargas is yet another of those tenors once tipped to be one of the ‘new Three Tenors’ (groan) but he has survived this nonsense and is actually a fine musician, with a fairly light, flexible voice which he uses with taste and discretion — he lacks the big bow-wow effect beloved of many admirers of this repertoire, but there is no shortage of italianità in the singing, even though ‘Di tu se fedele’ was a little breathy and ‘O qual soave’ was rather thin on passion — that however was not exactly his fault. He did his level best to make something of the role, not exactly helped by either the direction or the Amelia.
Not only do revivals always encourage comparison — and it’s unfortunate in this context that Mattila was such a sympathetic heroine last time around — but they can also suffer from lack of work on the interactions between the principals, something which especially affected Angela Marambio, whose Amelia could blossom if she were able to actually do something on stage other than emote. Her best singing came in ‘Morrò, ma prima in grazia’ where stand and deliver is allowable, but in the Act II duet and at the death scene, she was sorely in need of some direction.
Angela Marambio as Amelia and Elena Manistina as Ulrica
Dalibor Jenis has an imposing voice and stage presence, and he was often convincing as Renato, although I’m sure he would not be regarded as a genuine Verdi baritone by most aficionados of the breed. ‘Eri tu’ was however grippingly sung, in one of the few believable scenes of the evening. Elena Manistina was a sinister Ulrica, her cries about communing with Satan not once eliciting a chuckle from me — and that’s praise, by the way. Oscar is one of opera’s most irritating parts, but Anna Christy succeeded in not making me wince more than a couple of times — again, a compliment.
Orchestrally things were slow — very slow — although there was plenty of light and shade in Maurizio Benini’s conducting. In terms of the production, who would not love Sergio Tramonti’s wonderful design for the ball scene, with its framed image and brilliant use of mirrors? The only problem was that some of the characters did not quite seem to know what to do with themselves, even as their beloved ‘Governor’ was breathing his last. I liked Ulrica’s bear pit and the Act II gallows, although I imagine the latter was a trial for those who had to walk around in it. The other scenes were deeply conventional, as of course was the feel of the whole evening.
Angela Marambio as Amelia and Ramón Vargas as Riccardo
This ‘Ballo’ comes after a starry ‘Traviata’ and before an equally name-laden ‘Barbiere’ so in a way it’s a kind of breathing space, and if you like your Verdi without too many directorial surprises and your singing and acting styles traditional, you’ll be pleased with this production — first night wobbles must have taken the edge off some of the phrasing, and I’m sure that later performances will find all three principals much more settled in.