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!”
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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