21 Jul 2009
A knock-out Ariadne auf Naxos at Munich’s Bavarian State Opera Festival
There are rare times when a critic can just enjoy, and say “Wow!”
During this exploration of music from the Austro-German Baroque, Florilegium were joined by the baritone Roderick Williams in a programme of music which placed the music and career of J.S. Bach in the context of three older contemporaries: Franz Tunder (1614-67), Dietrich Buxtehude (1637-1701) and Heinrich Biber (1644-1704). The work of these three composers may be less familiar to listeners, but Florilegium revealed the musical sophistication - under the increasing influence of the Italian style - and emotional range of this music which was composed during the second half of the seventeenth century.
Charismatic charm, vivacious insouciance, fervent passion, dejected self-pity, blazing anger and stoic selflessness: Zazà - a chanteuse raised from the backstreets to the bright lights - is a walking compendium of emotions. Ruggero Leoncavallo’s eponymous opera lives by its heroine. Tackling this exhausting, and perilous, role at the Barbican Hall, The soprano Ermonela Jaho gave an absolutely fabulous performance, her range, warmth and total commitment ensuring that the hooker’s heart of gold shone winningly.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
There are rare times when a critic can just enjoy, and say “Wow!”
The lucky audience at the Bavarian State Opera Festival’s Ariadne auf Naxos was witness to one of the most remarkably fluid and fun performances of this Richard Strauss work it has been my pleasure to see. The quirky production, every member of the cast — even deeply into the smallest roles — the conductor and the orchestra, all were of a single mind, and all at the top of their game. The result was total, unalloyed delight. It doesn’t get better than this.
From the very beginning, with dozens of mirrors wheeled on to the empty black stage, their reflections and changing placement instantly fracturing the stage focus into kaleidoscopically reconfigured crystalline structures — not unlike in the celebrated climax of Orson Welles’ classic film “Lady from Shanghai,” a chase set in a fun-house of mirrors — this genius production by Robert Carsen beautifully embodied the Hoffmanstahl/Strauss conceit of irrationally mixing up two disparate genres. If perhaps there was one too many upright pianos wheeled onstage here, or an occasional longeur there, these were minor cavils when the whole is such a beautifully realized directorial high-wire act. If theater is just smoke and mirrors, Carsen managed it brilliantly with barely more than the latter.
Scene from Ariadne auf Naxos with Diana Damrau as Zerbinetta in the foreground
The audience’s darling, as it should be, was the Zerbinetta of Diana Damrau, who proved capable of an astonishing range of physical acting, vocal pyrotechnics, and plain delight throughout the performance. Her red high heels came on and off with aplomb as she negotiated the virtuoso demands of the part and the production. She presents herself with a freshness and seemingly off-the-cuff decisions that are nothing short of daringly breathtaking. Even the most strenuous episodes came off with an irrepressible naturalness which is the opposite of studied. One hardly knows what to praise more, her musicianship or her acting — but the two cannot be separated. They form a seamless wonder, with or without those red high-heels.
But Damrau was hardly alone in this deep cast of talented artists. Each contributed his or her more than considerable best. Primadonna/Ariadne, Adrianne Pieczonka and Composer Daniela Sindram were also as magnificent in their fiery roles, and gave no grounds for anything other than complete admiration. Everyone in the cast made the most of their moments to shine. Martin Gantner (Musiklehrer) was suitably aggrieved. Burkhard Fritz was an outstanding Tenor/Bacchus. Nikolay Brochev (Harlequin), Ulrich Ress (Scaramuccio), Steven Humes (Truffaldin), Kevin Conners (Brighella), Christian Rieger (Lakai), Guy de Mey (Tanzmeister), Kenneth Robertson (Offizier), Aga Mikolaj (Najade), Nicole Piccolomini (Dryade), Sine Bundgaard (Echo) were all excellent. Todd Boyce, who two nights before had been one of the clown-chorus of Bernstein’s Trouble in Tahiti, here was an amusing Wigmaker. Non-singing actor Johannes Klama was a most officious Haushofmeister. Bravi tutti.Scene from Ariadne auf Naxos with Adrianne Pieczonka as the Primadonna in foreground
Under the baton of Bertrand de Billy, he Bavarian State Opera Orchestra did itself more than proud, effortlessly supporting the singers and the stage action. All played exquisitely, with verve and delightful, drawing exquisite colors out of this perversely refined yet tatterdemalion score, wheezing harmonium included.
My one and only complaint is the lack of intermission between Vorspiel and “opera” proper, especially since the wooden seats of the Bayreuth-like Prinzregenten Theater begin to test the physical limits of the audience for such a long period, reminding one why German, apparently alone among languages, has that particular word Sitzfleisch, or sitting endurance. But more importantly, a toast would have been welcome for such a bravura display of artistry before plunging into the “performance” proper, It also forced the Composer in this production to spend the second half of the work standing mute at the foot of the stage among the audience, looking on. A missed opportunity for the audience to collectively celebrate their great good luck to be able to witness such a marvelous, dizzyingly witty and rich realization of this complex work.Daniela Sindram as Der Komponist
The performance took place in the Bayreuth-like art-deco Prinzregenten Theater, the middle-sized of the Bavarian State Opera’s three opera houses, located by Munich’s Isar river.
Raphael Mostel © 2009